Stage Whispers September/October 2017

2 Stage Whispers September - October 2017

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4 Stage Whispers September - October 2017

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Please nominate three choices, as supplies of some gifts are limited.  5 double passes to see BEAUTIFUL: THE CAROLE KING MUSICAL at Lyric Theatre, Sydney on Friday September 22.  Double Passes to see MICHAEL BALL AND ALFIE BOE

TOGETHER in Brisbane Oct 5; Melbourne - Oct 7; Sydney - Oct 11; Adelaide - Oct 14 & Perth - Oct 16.

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In this issue

A Starry Wizard Of Oz ........................................................................... 10 Chatting with Anthony Warlow, Jemma Rix, Lucy Durack and Samantha Leigh Dodemaide

16

Simply Beautiful..................................................................................... 16 What makes the Carole King Musical tick?

Finding Frankie’s Voice .......................................................................... 18 Musical secrets of Jersey Boys Useful Apps For Theatre Groups ............................................................. 21 Bringing Community Theatre into the Digital Age A Master Of Design ............................................................................... 26 A celebration of award-winning set designer Brian Thomson

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Best Gags At The Helpmanns ................................................................. 32 What made us laugh at Australian theatre’s night of nights Australia’s Best Suburban Theatre .......................................................... 34 Parramatta Riverside Theatre’s success story

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Costumes, Props, Sets and SFX ............................................................... 36 Our special focus this edition

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32 73 82 6 Stage Whispers September - October 2017

Regular Features Stage Briefs

10

Broadway Buzz

22

London Calling

23

Stage To Page

64

Stage On Disc

66

Stage Briefs

70

On Stage - What’s On

72

Reviews

83

Musical Spice

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Editorial Dear theatre-goers and theatredoers, Reading through the pages of each new edition of Stage Whispers, editing (then proof reading) the articles and directories, immediately sets me to thinking about the productions I look forward to seeing over the coming months.

I hope it’s the same for you.

Online extras!

I know the mix for me will Stage Whispers caught up with Paulini backstage at the include everything from multi2017 Helpmann Awards. Check out our video with her on million dollar professional our Facebook page http://bit.ly/2vzq3SE stagings of Broadway Musicals to micro-budget Community Theatre productions; I’m also aware that both ends of the spectrum will bring their own special joys.

That overview is the great benefit of working on a publication which showcases my passion.

Each September we turn our attention to the design elements of theatre - costuming, sets and props.

There too, we traverse quite a range this edition.

We’ve spoken to one of Australia’s most internationally acclaimed set designers, with a career stretching over five decades, as well as our next wave of costume makers. We’ve also looked at a whole range of options for costuming school and community theatre productions.

Since I last wrote on this page, we’ve exceeded one million visits this year at www.stagewhispers.com.au. We’ve also passed 18,000 likes on Facebook, as we rapidly approach a social media following of 23,000.

So, enjoy this edition, then stay up to date via our website and social media until our next edition in November, with its rundown of theatre seasons across Australia in 2018.

Yours in Theatre,

Neil Litchfield Editor

CONNECT

Cover image: Samantha Leigh Dodemaide plays Dorothy in The Wizard of Oz. The show is set to tour Brisbane, Sydney, Melbourne and Adelaide from November.

See our feature story on page 10.

Photo: Brian Geach. www.stagewhispers.com.au Stage Whispers 7

Stage Briefs

 David Campbell stars in the Stephen Sondheim / James Weidman musical Assassins at the Hayes Theatre Co from Sept 15.

Photo: Johnny Diaz Nicolaidis.

Artwork: Jeff van de Zandt.

Read more: http://bit.ly/2vrs8R5  Missy Higgins (Bonnie May), Gus Murray (Ricky) and Kellie Rode (Lora Lee) in the new production of Nick Enright and Max Lambert’s Australian musical Miracle City at Sydney Opera House Studio from Oct 11.

Photo: Daniel Linnet.

Read more: http://bit.ly/2vs9Qz2  Teagan Wouters, Toby Francis, Joe Kosky and Dash Kruck in High Fidelity at the Hayes Theatre Co from Nov 18.

Photo: Lauren Peters.

Read more: http://bit.ly/2vrWXFc  Tina Arena will star as Eva Peron in a new production of Evita, co-produced

by Opera Australia, John Frost and David Ian, at Sydney Opera House from Sept 13, 2018.

Photo: Lightbox Photography.

Read more: http://bit.ly/2vrMFVz

8 Stage Whispers September - October 2017

Online extras!

Find out about Miracle City from the cast by scanning the QR code or visiting https://youtu.be/vtAfi8S5qgE

www.stagewhispers.com.au Stage Whispers 9

Cover Story

A Starry Wizard Of Oz Peter Pinne talks with stars Anthony Warlow, Lucy Durack, Jemma Rix and newcomer Samantha Leigh Dodemaide about their upcoming roles in the newest production to travel down the ‘Yellow Brick Road’.

The upcoming production of Andrew Lloyd Webber’s new London Palladium version of The Wizard of Oz probably has the starriest cast of any version since the original MGM film opened in 1939. Anthony Warlow plays the Wizard and Professor Marvel, with Lucy Durack and Jemma Rix returning to their Wicked characters’ roots as Glinda, the Good Witch and the Wicked Witch of the West, and, new plucked-from -the-chorus, Samantha Leigh Dodemaide to play Dorothy.

Andrew Lloyd Webber was reunited with lyricist Tim Rice to compose four new songs to add to the beloved Harold Arlen score. It was the first time Webber and Rice had written together since they wrote the song ‘You Must Love Me’ for the movie of Evita.

Anthony Warlow sings two of the new songs, ‘Wonders of the World’ and ‘Bring Me the Broomstick’. “’Wonders’ is an early song for Professor Marvel that sets-up his 10 Stage Whispers September - October 2017

character, and I sing ‘Broomstick’ at the finale of act one as the Wizard,” Warlow said.

It is the first time he has sung Andrew Lloyd Webber (who he describes as one of his favourite composers) on stage since The Phantom of the Opera.

“Lucy Simon is my all-time favourite. Dr Zhivago I find extremely poetic, while The Secret Garden holds a special place for me because my daughter was born during the run and I like it because it’s a show about the redeeming qualities of children.”

Anthony first discovered The Wizard of Oz on TV. “I was about 12 or 14 and it was in black and white, before colour

had come to Australia. I think it’s a good musical in that the songs advance the story. It’s also melancholic and reminds us what we forget about youth - lost youth.

“Baum wrote it as a fairytale for Americans. Europe had the Grimm Brothers and Hans Christian Anderson, but America had nothing of its own. So he wrote The Wizard. I discovered a 1964 thesis by Henry Littlefield which claimed the book was a political allegory of the times.”

In Littlefield’s eyes The Wonderful Wizard of Oz (Continued on page 12)

Online extras!

The stars of The Wizard Of Oz reminisce about the first time they saw it. https://youtu.be/bjDHptsTNaU Jemma Rix and Lucy Durack.

Photo: Brian Geach.

www.stagewhispers.com.au Stage Whispers 11

Cover Story Aaron Fried, Jay McGill, Morgan Reynolds and Sarah Lasko in the US touring production of The Wizard of Oz. Photo: Daniel A. Swalec.

roles of Charles Frohman and Captain Hook in Gary Barlow’s musicalization (published in 1900), was a comment of Finding Neverland. on the political revolution in America in Three times up to bat in Annie is a the late 1800s, when farming good innings; 2013 on Broadway and communities were not surviving and 2000 and 2012 in Australia. industrialists were without oil.

What’s the difference between The Scarecrow symbolised farmers, appearing in a show on Broadway and the Tin Man embodied industrial in Australia I asked? workers, and the march down the “Broadway theatres are made for yellow brick road to the Emerald City theatre. They have great acoustics. paralleled the farmers and industrialists There’s a different energy, and the marching on Washington for a better pool of talent is excellent. In Australia deal. there might be only one Anthony “The yellow brick road represented Warlow but in New York there are gold, Dorothy’s silver slippers silver, 300.” and the Emerald City the greenback, “Sometimes it feels like a show is with the Wizard a politician who was thrown together, but it works because pulling-the-strings. It’s fascinating everybody behind the scenes is an when you look at it in those expert. Finding Neverland was a great terms.” (The slippers were originally experience.” silver in the book but were changed to A few years ago Warlow said he ruby in the movie.) was moving to America full-time, but It’s Warlow’s first time on an that’s not the case. “Well, Peter Allen Australian stage since returning from was bi-coastal but I suppose you’d call Broadway. There he played Daddy me bi-country. I have an apartment in Warbucks in the James Lapine directed Harlem in New York and one in 35th Anniversary production of Annie, Melbourne. I usually spend six months reprised Don Quixote in a Washington in each.” production of Man of La Mancha and Does that affect his personal replaced Kelsey Grammar in the dual relationships?

(Continued from page 10)

12 Stage Whispers September - October 2017

“I’m divorced. My daughter’s now 22 and teaches ballet in Bowral.”

The MGM film version of The Wizard of Oz is also where Lucy Durack and Jemma Rix were first exposed to the story.

“I think I was about four and saw it on TV,” said Lucy. “I loved it. Over the Rainbow has always been one of my favourite songs.”

Jemma remembers being about five when she also saw it on TV. “I loved it too. The Wicked Witch was frightening. I was terrified of her.”

“So was I,” said Lucy, “but then I’ve always been a bit of a scaredy cat.

“I remember as a kid I used to play a Wizard of Oz game,” she continued.

“The film made quite an impression on me.”

What does it feel like to be back playing opposite each other again in the two characters they created in Wicked almost a decade ago?

“I’m honoured,” said Jemma.

“Wicked was such an amazing experience, a big part of my life that I’ll be forever grateful for.”

(Continued on page 14)

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Cover Story (Continued from page 12)

“I couldn’t agree more,” said Lucy.

“It’s exciting to be playing the characters again but it’ll be different because it’s in a different show.”

Lucy enthused about her new song. “It’s wonderful. It’s called ‘Already Home’. I sing it to Dorothy. It’s Photo: Tim Carrafa. got a beautiful message about having everything she needed already, right here at home.”

The fourth new song by Webber and Rice is a big second act number for the Wicked Witch, ‘The Red Shoes Blues’.

“It’s a conversational piece about the Witch’s hatred of the power Dorothy has with the shoes and she wants them,” said Jemma. “I do it with the Winkies, guards and the Winged Monkeys.”

Prior to rehearsals, both actors have been busy. Lucy has been looking after

“It’s a collection of show songs from some of the musicals I’ve been in and includes two tracks from Wicked, two from Ghost, and Queen’s ‘Somebody to Love’. I also do a couple of duets, Jekyll & Hyde’s ‘Dangerous Game’ with Kane Alexander and Once’s ‘Falling Slowly’ with Rob Mills.”

her 2-year-old baby Polly and filming episodes of the Nine Network’s Doctor, Doctor, Channel 10’s Sisters, and an ABC comedy.

Jemma recorded her first album, Gravity, and has been doing promotional gigs for it around the country.

Last year both were part of a highly successful concert at the Sydney Opera House called Witches, featuring four leading ladies from Wicked, who had all sung Glinda or Elphaba.

“Amanda Harrison and Helen Dallimore joined us and it was all Witch related - dark and sinister. They

The Wizard of Oz, produced by John Frost and Suzanne Jones plays at The Lyric Theatre, QPAC, Brisbane from the 4 November 2017, before touring to the Capitol Theatre, Sydney from 30 December 2017; Festival Theatre, Adelaide Festival Centre from 3 April 2018; and the Regent Theatre, Melbourne from 15 May 2018.

Tickets at www.wizardofozthemusical.com

14 Stage Whispers September - October 2017

Online extras!

Sarah Lasko sings “Over The Rainbow” during the US The Wizard of Oz tour. https://youtu.be/n2WRb0mrudM Mark A. Harmon, Morgan Reynolds, Sarah Lasko, Aaron Fried and Jay McGill in the US touring production of The Wizard of Oz. Photo: Daniel A. Swalec.

used the Harry Potter music as the overture. The marvellous Ben Lewis was the token male. He’d just returned from London,” said Lucy.

“We sang with the Sydney Symphony Orchestra and it was recorded by the ABC. It’s supposed to be touring.”

When the Palladium production of The Wizard of Oz opened in March 2011 the role of Dorothy was played

by Danielle Hope, who had been cast via a 2010 reality television series called Over the Rainbow. A similar Canadian reality search show found a Dorothy for the Toronto production in 2012, which toured North America in 2013.

In this new Australian production, the role of Dorothy has been cast along more traditional lines from over 400 actresses. In a move that almost parallels the movie and musical 42nd Street, Samantha Leigh Dodemaide has stepped out of the chorus and understudy roles to play the musical’s starring role, made famous in the movie by Judy Garland. Her first exposure to the story was also the movie.

“Mum and I used to watch the MGM musicals which were on TV on Saturday afternoons and The Wizard of Oz was one of mum’s favourites. It also became one of mine too. I was about eight. Every young girl of that age gets carried away by it. It’s a classic. And ‘Over the Rainbow’ is just so beautiful it’s beautiful to listen to and beautiful to sing. I find it nostalgic and it brings back lots of lovely memories for me.

Judy Garland’s performance was so iconic. I hope I do it justice. “(I’m) 28, so I’ll have to shed 12 stage years to look the part of Dorothy,” she says ironically.

And her favourite character?

“Definitely the lion, and in this production I’m sure I’m going to love Toto because he will be a real dog.”

How did it feel being plucked out of the chorus to play a leading role?

“This moment is the one I’ve been working to all my life. I’ve understudied many parts - Cathy Seldon in Singin’ in the Rain, Reno Sweeney in Anything Goes, Charity in Sweet Charity and Cassie in A Chorus Line, and I’ve gone on and played

them, so I’ve been incredibly lucky. But this will be the first time I’ve originated a part.”

Does it feel like she’s living the 42nd Street dream, when the chorus girl takes over for the leading lady?

“Yes, a little. But you know just rehearsing the leading role is wonderful anyway. It’s a thrill to put on the costume and learn all the moves.”

The Wizard of Oz also features Eli Cooper (Grease/Matilda) as the Scarecrow, Alex Rathgeber (Anything Goes/The Phantom of the Opera) as the Tin Man, and John Xintavelonis (The Lion King/Billy Elliot) as the Lion.

The same creative team who worked on the Palladium original will repeat their chores for the local version; Jeremy Sams (director), Robert Jones (set & costumes), Arlene Phillips (choreography), Hugh Vanstone (lighting), Mick Potter (sound), Jon Driscoll & Daniel Brodie (projection design) and David Cullen (orchestrations), with local conductor Guy Simpson coming in as musical supervisor. www.stagewhispers.com.au Stage Whispers 15

Simply Beautiful It took Carole King three months after the musical based on her life opened on Broadway to bring herself to see it. Ahead of its Australian premiere, the musical’s original director and local leads reflect on what makes the songwriter tick.

David Spicer reports.

Online extras!

Check out the Australian cast rehearsal for Beautiful: The Carole King Musical. https://youtu.be/jssUWkB6opQ When a musical has been on Broadway for four years, the original director normally allows an associate to pull the strings when it opens in faraway Australia. Not so for Marc Bruni, who is in the director’s chair for its opening in Sydney. His enthusiasm for the project is still high and his tip for Australian audiences seeing Beautiful: The Carole King Musical is to expect the unexpected.

“I think they will be most surprised that she had this long career writing songs for other artists. Everyone is very familiar with her Tapestry album and solo career. They

don’t know she was very reluctant to be a singer and only wanted to be a songwriter,” Bruni said.

“Carole spent the better part of the sixties writing songs for the biggest hit artists of the day.”

Being lucky enough to see the musical on Broadway, what struck me was how someone so young (and white) could compose pop songs that sounded so authentically Afro-American.

“It comes from a musical genius. She idolised the form of song writers that came before her,” Bruni explains.

“Carole loved Gershwin and Rodgers and Hammerstein,

16 Stage Whispers September - October 2017

The Shirelles in the Broadway cast of Beautiful: The Carole King Musical.

Photo: Joan Marcus.

and actually had a classical foundation, after learning piano at a very young age.

“When Doug McGrath, the author (of the musical), interviewed all four (featured) songwriters in order to create the show, he thought he was going to be writing a story about this young guard storming the castle and wanting to write this new rock’n’roll music.

Instead of tearing down the old guard of the songwriting of the 30’s and 40’s and 50’s, what he found was that Carole revered these artists.

“She has a singular way of expressing an emotion

through a melody and the joy of a melody. That juxtaposes with (husband and lyricist) Gerry Goffin’s often rather cynical lyrics and can be a really interesting push-pull.

“In addition, he was also quite a poet and wrote some of the most incisive lyrics about human emotion that have been written for music.

The lyrics for both ‘Will You Still Love Me Tomorrow’ and ‘Natural Woman’ came from Gerry Goffin. It’s really fascinating the way he has been able to channel that side of things.”

Producers are hoping Carole King will be there on

opening night in Sydney on September 23, but the 75year-old is famously reticent to see the show.

“She saw an early reading, but she was reluctant to see the show all the way through out of town try outs.”

Bruni said Carole King did not want to have to re-live the scene where her husband asks to have an affair, nor have people watching her watch it.

“She came three months after the opening in a disguise of a wig and glasses. She looked like a lot of our other audience members. Then she surprised the cast on stage. You can see it on YouTube.”

For its Australian season, Esther Hannaford is playing Carole.

With 16 songs, a gamut of emotions to display, a requirement for advanced piano playing and portraying a woman from the age of 16 until she is 29, it is a huge challenge.

Bruni said Esther appeared to be the natural lead at the audition, describing her as a chameleonic, immersive actress who will dig into the character Esther Hannaford is probably best known for being the girlfriend of King Kong in the Broadwaybound Australian produced extravaganza “Another King to challenge, which is really cool,” she said with a smile.

From Kong to Carole is quite a leap.

Esther Hannaford says she has been a fan of the much smaller King since she was a girl. It began when her family’s car radio was glued to 3AW and continued in college.

“Mum and Dad had her records growing up. Then as a female vocalist you come across Carole King and you sing her songs.”

What she likes best is the simplicity of her story telling.

“The songs have an authenticity and timeless nature. Even in a hundred years you could still sing and connect to them. When she is writing there is a radar that goes off and she notices if she is adding too many bells and whistles. When she is in the zone she knows that and so takes them away.

“When she is really in the zone, like in the song ‘You’ve Got a Friend,’ Carole says that is one of the songs that came out completely as it is.”

Ether Hannaford is no doubt brushing up on her piano playing skills to prepare for the role.

“I am not as good as Carole King; she is an incredible pianist. But my main focus is the story and the story-telling; making sure that is right is the most important thing.”

How would she boil down Carole King’s characteristics?

“She is very joyful. She genuinely loves music and hearing other people sing her songs. She has a thirst for life.”

The musical is not just Carole King’s story, but also in part that of her husband Gerry Goffin, and their song writing rivals Barry Mann and Cynthia Weil.

In the musical, the audience sees the couples working in a song-writing factory, competing against each other.

Playing Gerry Goffin is Josh Piterman.

“Carole openly says she could not have done it without him. The songs from ‘Tapestry’ are all Gerry’s lyrics. He co-wrote over 50 top 40 singles,” he said.

The musical covers their “much publicised tumultuous relationship. The musical does not hide from that, his mental break down and the struggles he had to keep up with the prolific writing.”

Goffin wrote the lyrics to bubble gum songs such as ‘Who Put the Bomp in the Bomp, Bomp, Bomp’ and

also wrote some of the most beautiful, simple intelligent lyrics.

“He got caught with this dilemma - where do I go with this. I can get a top 10 single with ‘Who Put the Bomp.’ It went to number 7.

Do I try to be like Bob Dylan or do I just write trash?“ Goffin has his flaws.

“He cheats on her a couple of times. That is a struggle he went through.

He struggled all his life with his bi-polar nature. He passed away in 2014.”

Unlike Carole, Gerry Goffin relished watching the musical.

“He hung on to see the show. He saw it on Broadway, and passed away a year after it opened. He absolutely loved it. It was really good way to go out, to see his life recreated on stage.”

With the musical in its fourth year on Broadway, touring productions underway in the US and UK, and now opening in Australia, perhaps millions more will have the same pleasure.

Amy Lehpamer, Josh Piterman, Esther Hannaford, Mat Verevis, Mike McLeish and Anne Wood at the Australian rehearsals of Beautiful: The Carole King Musical.

Photo: Ken Leanfore.

Beautiful: The Carole King Musical opens in Sydney on the 23rd of September. To win tickets to the show, see our subscription form on page 5. www.stagewhispers.com.au Stage Whispers 17

Finding Frankie’s Voice

contract of the lead actor is for 6 performances a week. Another actor is hired knowing that they’re going on two times a week.

“Because you’re singing lead on every number, and what isn’t way up in the falsetto is in very high belt, you’re not expecting somebody to do it eight times a week or twice in a day.”

The Four Seasons sound is so iconic.

How challenging is it to recreate?

“First of all - the Frankie sound.

There’s a moment when they get it.

Hit international musical Jersey Boys returns The first time you’re singing way up in 2018. Music Supervisor Ron Melrose, there, it’s probably like a boy soprano here to hold auditions for Australia’s new or a crooning, gentle quality. But it’s Four Seasons, spoke to Neil Litchfield about not that; it’s got street and grit to it. the search for the perfect voice.

There’s a nasality to it and a forward placement. Then they’ll start Long before the Bee Gees turned “We’ve heard somewhere upwards experimenting, then there’s suddenly ‘I the falsetto into a mega-money-maker, of 150 people audition for the get it’, then they’re able to do that. It’s there was Frankie Valli. As lead singer Australian production. Three not more difficult than singing a sweet of The Four Seasons, now enshrined in performers have to be able to get Benjamin Britten boy soprano part, it’s Musical Theatre as the subject of Jersey through the Frankie role, believably as just different.

Boys, he brought to pop music a well, and we have multiple choices for “With the sound of the Four freakish falsetto voice. each of those tracks. I would guess Seasons - I read a wonderful article When I met Ron Melrose, the Music that 20 people have shown us that about 10 years ago which said Supervisor, Vocal and Dance Arranger high falsetto that we were once so anything that involves four people, you of Jersey Boys, I asked him whether the worried about.” can declare who’s the Paul, who’s the Frankie is a huge role, requiring John, who’s the George, and who’s the production team looks for someone who is already just right for the role, or incredible vocal stamina. How do you Ringo, and stretch them out into the if they find key elements, then take the know whether someone has that? four corners of the circle and performers on that journey.

“The first thing we do is protect the concentrate on what makes them “We’ve actually been shocked. This voices by making sure there are three different from each other.” people in the company who can go on Those different vectors make the started in 2004 in La Jolla California,” as Frankie Valli.

The second thing we relationships between four disparate Ron Melrose told me. “We found a Frankie Valli, and during tech do, we borrowed from The Phantom of characters work, according to Ron. rehearsals when he started losing his the Opera’s use of Christine. The voice a little bit we said Oh, we’re The previous Australian cast of Jersey Boys. going to have to shut down. We sat Photo: Jeff Busby. down at dinner and said, how can we go to Broadway? It depends on this one freakish ability.

“The casting director calmed us down. She said, ‘Look, this is a regional theatre production. Nobody knew who you were; nobody knew what you were about. I guarantee you that if this opens, they’ll find us. There’ll be a kid on a cruise ship, there’ll be a kid at a theme park, there’ll be two at a conservatory, that will go I can do that.

They’ll make themselves known, and if we stay open long enough the conservatories will actually start training the falsetto voices. It will not be a problem.’ And it’s turned out not to be.

18 Stage Whispers September - October 2017

Ron Melrose.

“The Four Seasons sound is very much about a blend between Bob, Tommy and Nick, with this contrasting Frankie line riding on top of it. It’s arranged like that on the page, and that’s what we look for in rehearsals.”

How do you go about meeting audience expectations of that sound?

“If you were to stop a hundred people on the street and say sing ‘Sherry’ for me, they would almost to a person pick a tempo that’s about 10 to 12 beats faster per minute than the actual record. The world has continued to speed up since 1963, when it was released, and when you listen to the original recordings now you’re surprised how slow they are.

“We took the liberty, when we started putting it together, of saying we don’t want to be slavish recreations of these records; we want creative reimaginings of them without taking them to a wild and fanciful place. So, many of our tempos are brighter.

There’s one other change. The harmonies of the Four Seasons on their records are all tonal based chords they go from chord to chord to chord with the root on the bottom, and that creates a kind of staid, you’re always home quality. But in a theatre we sometimes want three songs in a row that move the plot forward; we don’t want the audience to rest. So we voice those chords so they’ve got a five or a three on the bottom, so that nothing

Matt Hunt, Matt Corner, Declan Egan and Simon Bailey in a recent West End production of Jersey Boys.

Photo: Brinkhoff & Mögenburg.

lets the ear rest, until, when you finally get home, there’s a moment there.”

To run over a decade on Broadway, a show must resonate across the generations to pick up its audience.

What is it that resonates about Jersey Boys?

“It’s a few things. One of them is that radio has kept these songs alive, so that people who were born well after 1960 can also say, those were the seminal songs of my youth. They weren’t written in the 70’s, 80’s, 90’s or 2000’s, but they were there and they were heard.

I’ll sit sometimes noting a show behind a family, and there’s mum and dad and a couple of kids and grandma, and everybody is tapping their feet and singing along. You feel they all know the songs before they hear them. I think radio has given us that.”

Still, for every 60s song that has bridged the generations, many others are long forgotten.

“I came to the theatre through pure music, so my instinct when analyzing a song is to take it apart musically. I think what has made the Seasons’ music more timeless than many others is actually the lyrics. There is one thing they were doing which other groups weren’t particularly, which is to acknowledge class differences beginning to appear in American life; so many of their songs are about I’m a poor boy from the wrong side of the tracks, you wouldn’t want to be with me - be with him instead. I can’t give (Continued on page 20) www.stagewhispers.com.au Stage Whispers 19

Philip Bulcock, Ryan Molloy, Stephen Ashfield and Glenn Carter in the original West End production of Jersey Boys.

Photo: Brinkhoff & Mögenburg.

Jersey Boys will open at Sydney’s Capitol Theatre in September 2018.

(Continued from page 19)

“They wrote dark songs and light songs. I think they wrote some fluff, you things. Or, you’re a Rag Doll, my and I think they wrote some stuff that parents don’t want me to talk to you. has never been acknowledged as the There’s the haves and have-nots, and tone poems that they are. love across that divide.

“What we tried to do very hard in “Frankie and Bob came to our Act One is move seamlessly through writers saying there should be a that beginning and flourishing of their Mamma Mia! using our music, but careers, so that when we turn on the Marshall and Rick said basically, ‘that’s lights at intermission the audience feels been done already. We need to do like they’ve been on one toboggan something more interesting. Yes, there ride, instead of - I’ve listened to 15 should be a show using your music, songs and I’ve clapped after each of but what should it be?’ It wasn’t till them, and there were some scenes in they were sitting down at dinner, and between.

Frankie and Bob started being honest “Get to Act 2, and we try to stay admitting, look we were older than we basically chronological in our use of admitted being, and some of us had their work. Of course, just as Tommy done time, and it wasn’t all peaches and Bob are leaving the group, the and roses. Rick and Marshall said, topics of the songs are going to Hey Don’t Go, Hey I’ll Miss You and Stay there’s your show, if you’re brave enough, and honest enough and will with Me. They don’t want to kiss let us show you warts and all. That’s Tommy, but they want him to stay. So, the interesting story - who you are and you put it through one filter of, now where you came from.” we’re going to do our story as a love There’s a contrast of their beautiful song, and the next song would come love songs with the darkness of the up. So, we’d go what did they release story. How big a part of the success of that year, and we’d say, well that’s Jersey Boys is this? perfect for where we are in the plot.

20 Stage Whispers September - October 2017

It’s about departure, it’s about change and it’s about loss.”

Are the songs naturals for a musical theatre score?

“The traditional idea of a musical would have songs written for the show, and perhaps the book and the music were coming along at the same time, and the song has to fit on these five points. Songs were written that hit on those five points and suffered from not really being able to be taken out of that context. Then there were other songs that were written for musicals, and the whole point was, this is a takeout song.

“So, in letting the catalogue of songs come first - here’s your music, wrap a show around it - it gives a primacy to the music. That means it will fit the story to the degree that the playwrights are clever, and we had very clever ones. We didn’t do a Mamma Mia! thing where you just wrap an imaginary story around mothers, children and husbands. This was going to be the story of the band. And it was a great challenge to say, well, how do you use their music to tell their story.”

Useful Apps For Theatre Groups Daniel Pepperell from Musical Theatre New Zealand has the lowdown on some useful free apps for theatre companies.

Simply Book Me is an appointment scheduler that will automate your whole audition booking time, taking the stress off one person who normally takes the information. You then have this information typed, to collate addresses, emails, names, etc.

It provides really good visual graphs on age ranges, hair colours, heights, sexes, roles etc. Free for up to 50 people before you pay a small fee. The app can also give auditionees a reminder text. You decide when the prompt goes out. It has a medium level of difficulty to learn and is not very user friendly. Needs practise before you launch it. www.simplybook.me

Sketch up is a 3-D modelling software, good for set design, that is used by both professionals and beginners. Another good free tool, but some computer experience will be needed. It enables you to build 3D sets, or 2D floor plans, play with space, and incorporates your proscenium arch and wing space. It allows printing of PDF’s from any angle.

Medium to hard to use. www.sketchup.com

Google Forms is a platform to create questionnaires in one easy spreadsheet. You can create audition forms or feedback forms. It is often used for health and safety checks. The sky is the limit. A local lighting hire company uses the mobile app to submit reports in the field.

The reports are automatically recorded and kept in one spreadsheet. Google Forms is between easy and medium to learn. Users are best to choose a template. http://docs.google.com/forms

Mail Chimp is a userfriendly email newsletter. It allows you to drag and drop images to create very good looking electronic direct mail. You receive data on which recipients click on items, to tailor content for future newsletters.

It is free for up to 10,000 sends per month, which is way more than an amateur theatre would need. It is very easy to become an expert.

Mail Chimp also has a free plug in to your Facebook page, allowing users to sign up for newsletters. There are also plug ins for membership - which can automatically delete expired members from newsletter lists. www.mailchimp.com

Google Drive is a cloud storage system very much like Dropbox but way more user friendly. We use it for shared budgets. Everyone has access to it and can edit it live no matter where they are across the country. It is cheaper than Dropbox as you get 10 gigs free per user and you can drop in data from other Google apps such as Google forms. Heads of department can manage their own budgets and production managers can keep an eye on it. Easy to use. http://drive.google.com www.stagewhispers.com.au Stage Whispers 21

Michael Ball and Alfie Boe. Photo: Max Dodson.

between Operetta, Musicals and even Pop. Following a few years behind, Alfie took a different path. He trained at the When super stars cross each other’s In the years between, Michael took Royal College of Music and the paths in space, the result is usually a the West End stage by storm and National Opera studio and was handpowerful explosion, and the same rules wound up winning two Olivier awards; picked by Baz Luhrmann for the apply in Musical Theatre. And there are released a string of hit albums; hosted Broadway production of La Boheme, no bigger Superstars in the West End television shows and established winning a Tony Award with the rest of world of Musicals than Michael Ball himself as Britain’s favourite leading the cast. and Alfie Boe. Two very different but extraordinary voices.

“I used to listen to Michael’s records when I was a kid,” Alfie teases affectionately.

Both took London by storm in different man in a variety of roles in shows by Ball is animated, as if he’s had a productions of the same show. At the Andrew Lloyd Webber and Stephen large dose of sparkle before he goes on tender age of 23, Michael was the Sondheim (his favourite role is stage. He has the ability to light up original Marius in Les Misérables, and Sondheim’s Sweeney Todd, but he every room, let alone every stage. Boe Alfie was Valjean in the acclaimed 25th regrets he’s “not quite right” for is more sombre, a man of far fewer anniversary concert and played the role Momma Rose in Gypsy). Self taught, words, but with an intriguing his fabulous voice easily adapted on Broadway.

Coral Drouyn talks to British Superstars Michael Ball and Alfie Boe, discovering how fate brought about their spectacular musical partnership.

22 Stage Whispers September - October 2017

mystique. Both are charismatic, as their Beads’, based on the glorious melodies legions of fans will attest. of Borodin, and a great supporting Ball grew up in the wilds of cast, it should have been a dream of a Dartmoor in Devon, an only child for show. But, as Michael told me, “It was the first ten years of his life. He loves a nightmare of a production. I kid you Jazz, and early musical influences were Ella Fitzgerald and Frank Sinatra. Boe is a product of the North, raised in Blackpool with eight other brothers and sisters. He listened to, and loved, his Dad’s Richard Tauber records (and later recorded Tauber’s famed ‘Girls Were Made to Love and Kiss’) but he was also a drummer in a rock band, and a great fan of The Who. Two very different men shared (though they didn’t know it at the time) the same philosophy, that there are only two types of music good and bad. They might have stayed in their own orbits in the firmament, but fate, Kismet, brought them together - quite literally.

When the English National Opera (ENO, the same name as the British liver salts, which should have been Photo: Jessica Earnshaw. a portent) decided to stage the not, it’s hard to imagine how such a 1953 musical Kismet, they scored a coup by securing Ball (considered a show could be so bad.” ‘veteran’ at barely 45) to play Haj, the “But if the production had been poet, and Boe to play the Caliph. With better,” Alfie chimes in, “Michael and I sumptuous songs like ‘Stranger in might not be together doing this tour Paradise’ and ‘Baubles, Bangles and now.”

So, was this ‘bromance’ an instant thing?

“Pretty much,” Alfie says, “I didn’t have the background Michael had and I wasn’t certain how much I should say about it, when I realised the problems.”

“Whereas I, “Michael admits truthfully, “had no qualms about saying what I thought - it was a bloody disaster.” They provided support for each other through rehearsals and the short run.

The two, who had a mutual respect for each other’s work, discovered a genuine liking for each other as people. They started hanging out together before and after the show.

“Michael is very funny,” Alfie explains, “he makes me laugh.”

“Believe me,” Michael adds, “It was hard work finding things to laugh about, and don’t forget Alfie’s a northerner, and they’re bloody miserable most of the time. But actually he has this dry sense of humour and we laugh and take the mickey out of each other.”

“Of course,” Alfie explains with mock seriousness, “Michael is such a (Continued on page 24)

www.stagewhispers.com.au Stage Whispers 23

(Continued from page 23)

Diva, and so much older than me - I have to show him due deference.”

Michael laughs, “He’s joking - you are joking, aren’t you Alf? Have you ironed my shirts?” Michael adds.

It’s clear that there’s genuine regard between the two men and hanging out together is not a chore.

If the friendship hadn’t formed so quickly, they might have gone their separate ways at the end of the short run.

“So we started discussing things we could do together, even though I was going in to Hairspray,” Michael says.

“He looked lovely in a frock,” Alfie interjects. (It’s true, I’ve seen the pictures, and the role brought Michael the Olivier Award.)

The two started fitting in concerts together and found that when they could be themselves on stage, the camaraderie spilled into the audience.

“Remarkably, our voices work really well together, and we’ve sung so many of the same songs,” Michael explains, “that it’s a real treat to get to sing them together.”

“And we’re not competitive about it. After all, Michael’s been at it so much longer.”

Michael sighs, “The things I have to put up with!” he tells me.

Inevitably they decided to record an album together, called, appropriately, Together.

“It was great fun. We did most of the studio work in New York,” Michael says, “but, to be honest, we never expected the response we’ve had. We released it late last year and it was the UK’s biggest selling Christmas album.”

I’ve heard the album several times and it’s glorious, with lush string arrangements that are breath-taking.

“You know Coral,” Michael says, “the arrangements were by Vince Mendoza, and he did the arrangements for Joni Mitchell’s ‘Both Sides Now’ album and that, in my opinion, is one of the finest albums ever made.”

I had no problem agreeing with him as it’s one of my favourite albums.

“So we’ve just done a long UK tour to promote the album,” Alfie says, “and then the opportunity came to 24 Stage Whispers September - October 2017

Online extras!

Michael Ball & Alfie Boe’s chemistry shines through in this video medley. https://youtu.be/cIFVdxc09iU

Photo: Jessica Earnshaw.

Michael Ball & Alfie Boe - Together tour schedule: QPAC Concert Hall, Brisbane - Thursday 5 October 2017 Hamer Hall, Arts Centre Melbourne - Saturday 7 October 2017 State Theatre, Sydney - Wednesday 11 October 2017 AEC Theatre, Adelaide - Saturday 14 October 2017 Crown Theatre, Perth - Monday 16 October 2017 Tickets from Live Nation http://bit.ly/2wvgMQ4 Buy the album “Together” on iTunes at http://apple.co/2ieDMfX bring the concert version to Australia…”

“And there was no way we were going to say no,” Michael chimes in, “we’ve both been here before but not for years.”

“Because nobody asked us,” Alfie adds.

“Speak for yourself!” Michael quips with mock indignation.

The two have already been back to New York to record the second album, which will be released at the end of the year.

“It’s called Together Again - highly original - and we do a few more uptempo numbers this time.”

I’m personally pleased because the two do a delightful duet on the old Georges Guetary song ‘Stairway to Paradise’.

“We know our audience well now, and we would never short-change them. We sing all the songs they expect from us, every one,” Alfie tells me.

“But we also like to give the audience surprises - a little extra something they might not expect from us,” Michael adds.

“Music is the most astonishing way to connect with people,” Michael continues. “The right chord, sequence of notes, can touch someone deeply and if you’re lucky enough to put the right words with them, well that’s incredibly powerful.”

Michael and Alfie promise first and foremost to entertain, and hope the audience has as much fun as they do.

And if you can still buy a ticket - I’d call that Kismet.

www.stagewhispers.com.au Stage Whispers 25

A Master Of Design From the original production of The Rocky Horror Show, to winning a Tony for The King and I, to extravaganzas on Sydney Harbour, Brian Thomson has created many of the most iconic stage sets ever designed by an Australian.

Martin Portus celebrates our master of design.

The writing was on the wall when Brian Thomson, an architectural student in third year, took to using fluorescent paint in his tech drawings.

He was to become Australia’s best known stage designer but back in 1968 Thomson’s big dream was not the stage, nor architecture.

No, with his mind full of New York, Marshal McLuhan and Tom Wolfe, young Thomson wanted to be a Pop Artist, an Aussie Warhol.

It was a chance meeting with an ambitious young director, Jim Sharman, over hamburgers on Sydney’s Oxford Street that opened his eyes to what theatre could be.

Adopted by the astute impresario Harry Miller, the two were soon designing and directing Hair. Thomson was 25 and life was taking off.

The next year they did Jesus Christ Superstar, first in Sydney, then, amazingly, were asked to mount it in London. Next, 1973, at Royal Court Theatre they invented that delicious cult call for freedom, The Rocky Horror Show. It ran in London for eight years and then worldwide in stylishly trashed venues ever since.

“I never thought that this is my career,” says Brian Thomson. “I see myself as an artist, a pop artist, and the theatre is where I do my pop art.

The way we convince people to do something; that’s why I’m interested in the theatre. The Rocky Horror Show literally changed people’s lives, gave them a freedom they never felt before, 26 Stage Whispers September - October 2017

and so with Priscilla and later with Only Heaven Knows.”

Thomson’s love of first modelling his work and his relish across a long stage career for engineering challenges, hydraulics and shifting platforms and revolves, marks him out as an impressive architect - but of storytelling. His geometric eye and often towering shapes and surfaces creates imposing, minimalist spaces for actors and singers to shine.

Not for Thomson the clutter of furniture, props and other business of naturalism. Instead, he does wonders with the softening, suggestive drapes and folds of hanging cloth. In Death in Venice, Thomson’s giant billowing silks responded to Benjamin Britten’s music and the athleticism of the boy Tadzio

moving below. One critic called it “the most sensual moment in the history of Australian theatre.”

And on the stage Thomson has flowered into a Pop Artist. A Thomson set so often sports a massive iconic object embodying its world, a billboard, a huge portrait, some giant lettering, an oversized lipstick, a massive chandelier or, as in JC Superstar, a central mysterious decahedron whose panels opened like the 12 petals of a flower.

“I like to think that Jim Sharman and I had very good powers of selection. That’s the greatest thing about Andy Warhol, what he chooses, the right image of Marilyn Monroe, the right thing in a supermarket. And I think we had that.”

Thomson’s zeitgeist skill at selecting the right icon, with a pop artist nod to advertising, made him a darling of commercial theatre makers.

His CV bristles with arena productions, operas and big budget musicals.

For the debut of Opera Australia’s run of outdoor epics on Sydney Harbour, with Verdi’s La Traviata, Thomson created a colossal crystal chandelier modelled on one he tracked down to a mosque in Abu Dhabi. This defining icon commanded the glamorous 1950’s style adaptation below it. The chandelier was transported into place on its own barge, and even had its own sponsor.

Dream Lover scale model.

Dream Lover computer rendition.

(Continued on page 29)

Dream Lover set.

www.stagewhispers.com.au Stage Whispers 27

Handa Opera On Sydney Harbour: Carmen.

Photo: Hamilton Lund.

Online extras!

Brian Thomson discusses building the set for Opera On Sydney Harbour. https://youtu.be/J3_QsTYPRRY

Billy Budd. Photo: Michael Cooper.

The Rocky Horror Show.

Jesus Christ Superstar 1972 set.

28 Stage Whispers September - October 2017

La Traviata On Sydney Harbour.

The Rocky Horror Show 1977 scale model.

Lasseter.

the New York critics, and the film flopped. And then Barry Humphries’ For the second extravaganza, debut show, Housewife Superstar!!!, Carmen, Thomson emblazoned those designed by Thomson and much letters in red as a mighty nightly acclaimed in London, also crashed in backdrop to the bullring, prominent New York. across the water. Somehow he As Humphries quipped, it fell faster circumvented the rules against Harbour than a Jaffa down a lift well. Thomson advertising. though had the last laugh, going on to Back in 1970’s London, this young, design most of Humphries’ solo shows almost accidental designer was quickly including his, supposedly, farewell tour being confirmed as a flamboyant, big in 2014. scale designer with a bizarre imagination.

With works like Superstar and Joseph and the Amazing Technicolor Dreamcoat, nothing less than the Bible takes the credit By 1979 Thomson and Sharman for some of his early achievements in were more permanently back in musicals “I like to think I never get caught in Australia, and continuing to make their a box but that happened to me in mark in the revival of plays by Patrick London: ‘Oh no, he does all those White, notably that year with A Cheery weird or religious musicals,’ they’d Soul starring Robyn Nevin. Then came think. And the number of cassettes I’d their landmark Death in Venice, get sent to listen to - unbelievable Thomson’s first opera. musicals about Noah’s Ark and stuff “I felt that all the decay and like that! Shocking. So I never want to architecture of Venice was in the music repeat myself.” and that I didn’t need to scenically Thomson’s confidence ultimately, if represent that,” he says. “So it was briefly, hit a brick wall when he fell foul done with some signs, a black box and of the US market. First, The Rocky the thought was to create a 3D Horror Show, despite worldwide labyrinth where you could look down productions, was effectively closed by corridors off the black box opening up (Continued from page 27)

to form other corridors. Just like Venice is - as I realised when I finally went there.”

Thomson proudly asserts his opera sets always have surfaces he carefully positions upstage to support the singers acoustically, allowing directors to use the full stage and maximise dramatic impact.

He went on to design many of the landmark opera productions of his generation, including the world

premiere of Richard Meale’s Voss, directed by Sharman, and Wagner’s Tristian and Isolde with his frequent collaborators, director Neil Armfield and costume designer, the late Jennie Tate.

His stage for Tristan was an angled perspex wing suspended over reflective water and surrounded by towering cliffs of silk. This Thomson signature reappeared in his design for Billy Budd, directed by Armfield in 1999. Benjamin Britten’s marine tale was powerfully retold on an endlessly tilting and (Continued on page 30)

www.stagewhispers.com.au Stage Whispers 29

(Continued from page 29)

turning white rectangle backed by cotton sheets with painted clouds. Not for Thomson, those usual expectations of a full ship with decks and rigging!

Not surprisingly, the designer also went through an obsessive film noir period. This took full flight in Janacek’s opera The Makropulos Secret, staged for Jim Sharman’s 1982 Adelaide Festival.

The central peasant girl, pursuing the elixir keeping her alive for three centuries, was updated to a 20th Century film star, her image on a huge billboard, the set suffused with shadows, venetian blinds and the work of ‘white light designer’ Rory Dempster. In Act II, Thomson added an iconic black sphinx and throne. The director Elijah Moshinsky, says Thomson, was a slow convert to these ideas.

Thirteen years later in New York, while watching Moshinsky’s new production of the same opera at the Metropolitan Opera, Thomson was astonished to see his own design icons up there onstage. The Met gave him no royalty, no accreditation, and his legal options, especially overseas, were limited.

For such an internationally active designer, and originator of so many shows that have travelled, Thomson had to get used to the limited moral rights of creatives to control reproductions of their work or to receive any ongoing royalties.

He’s haunted online by seeing ever new productions of Priscilla: Queen of the Desert, from Paris to Manila, with their bad ‘Aussie’ drag queens and copies of his iconic, lit up bus with its opening and closing sides.

“Some productions give you a tiny royalty and credit but when others don’t, you can’t do much about it. And the question of keeping the integrity of someone’s design just doesn’t matter out there.”

Thomson this year joined director Gale Edwards in publicly complaining that Opera Australia did not re-employ them - or pay a royalty - to restage their outdoor production of Carmen on Sydney Harbour. This, he says, is a recent, unacceptable departure from the accepted operatic practice in Australia that the designer should be there to rework a production into new theatres or with new casts.

And royalties, when they are paid, are now less than they were. For some productions of the Rocky Horror Show, Thomson was initially paid a half a percent of weekly takings. By the 1990’s, as for his Tony award-winning design for the musical The King and I, he was paid the same percentage but Brian Thomson spoke to Martin Portus for a State Library of NSW oral history project on leaders in Sydney’s performing arts; the full six hour interview will be available on the Library’s new website later this year.

Priscilla Queen Of The Desert The Musical sketch, model and set.

30 Stage Whispers September - October 2017

only - as in the film industry - on the profits, after all expenses are paid out.

With King and I, Thomson at least had the rare experience of creating an original design in Australia and being employed to transfer it to Broadway then a first for an Australian-made musical. Then came the global success of Priscilla, and last year Thomson designed the world premiere in Sydney of Dream Lover, about singer Bobby Darin. All wait to see if this musical gets legs and wins backers in the States.

Brian Thomson though - who in 2005 received an Order of Australia, AM - has long been happy to stay in his home country, working from his Paddington terrace.

“With people like Armfield, Sharman, Gale Edwards, Judy Davis, Rodney Fisher, the directors are so much better here than in America and England, where they’re always saying a set has to be read literally, or the audience won’t get it. I just think that the theatre that we’ve created here and I’ve been a part of it - is fabulous.

And people like Baz and Catharine moved in…and its all very different to how overseas directors work.”

Anyone Can Act

WAAPA Acting graduates Andrew Hearle and Luke McMahon have gone amounts of money on masterclasses and short courses, but not really global in their efforts to show “anyone can act”. The pathway is a working on the fundamentals. We website called StageMilk.com How did StageMilk get started?

We started StageMilk.com to compile monologues and other resources for actors to use while training. When we were studying we were constantly asked to prepare monologues for class. All the existing websites were hard to navigate and were full of advertising. Other people had similar issues because our site grew really quickly. Once we had a few thousand visitors each month we thought reviews might be worth exploring. Our main goal with the reviews was to get free tickets to the theatre, as a ticket to a main stage play is a little out of the price range of a couple of impoverished students. Since then we have stepped away from reviews, towards blog content and other resources. Being both an actor and a reviewer is a dangerous game.

What is the goal with the site?

We want to make StageMilk the place that actors go to first when looking for help in their careers. That

might simply be an audition monologue or scene, or perhaps some more practical advice on being an actor. We also want to be a place where actors can feel part of a community.

How do you both balance being actors and running an acting website?

It is slightly funny that thousands of people a day are reading our articles on acting while we’re very much trying to have our own acting careers. We don’t suggest to people that we have “made it”. I think what people like about the site is that we are in the thick of it with them. We always try to keep our content very down to earth.

We’re not putting ourselves forward as experts, but we try to be genuine and offer advice that hopefully makes the life of being an actor a little easier.

Why did you start StageMilk Drama School?

We felt there was a lack of straightforward, honest training for actors. Actors are spending huge

wanted to make a course that covers all the areas an actor needs to have a career. We were really lucky to get some of the best acting teachers in the country involved.

What the strengths of the website?

StageMilk ranks on the top of Google searches for a range of search terms from ‘female monologues’ to ‘acting games’.

What’s next?

Students are loving our online course and we have more visitors than ever coming to the site. StageMilk Drama School is a combination of practical advice, philosophy and irreverence and has attracted actors from all over the world including the USA, Canada, The UK, New Zealand and Australia. We hope we can keep doing what we’re doing and making the site as valuable for actors as possible.

For more information visit www.stagemilk.com or www.stagemilkdramaschool.com www.stagewhispers.com.au Stage Whispers 31

The frocks are back in the cupboard and the trophies are now gathering dust. What do we make of the 2017 Helpmanns, which were arguably the most slickly run, and, most foreign dominated, since the awards began. David Spicer reports.

It is always a little embarrassing when overseas creatives dominate our very own live entertainment awards and this year our cheeks were especially crimson. But at least the individuals nominated for musical awards turned up and gave classy thank-you speeches.

“I thank God for my parents who let this chubby theatre nerd do what I wanted to do, and I am an Aussie now yeh!” squealed US star Michael James Scott (The Genie in Aladdin) on winning Best Male Actor in a Supporting Role in a Musical.

UK star Callum Francis (Lola in Kinky Boots), whilst accepting the Best Male Actor in a Musical award, revealed that he “fell head over heels

32 Stage Whispers September - October 2017

in love with a Disney Prince” during the first week of rehearsals.

The Aussie women were pretty classy too. On winning Best Female Actor in a Play, Kate Mulvany (Richard 3) said, “I love you dad, thank you giving me a spine when I needed it most, albeit a really crooked one.”

Leah Purcell was very powerful accepting a slew of awards for The Drover’s Wife, thanking her mother for

reading the story, written by Henry Lawson, to her as a child.

She was lauded by Mark Coles Smith, who won Best Actor for the same play, “Long may your voice cut through the silence of this country.” He played into what became a rolling gag, “to all the other nominees, I was once just like you.”

Host Jan Van De Stool (Dutch/ Australian musical therapist aka

Queenie van der Zandt) rubbed it in, in the same vein.

“For many, the Helpmanns can be a difficult time. Maybe you were not nominated and are watching this in your pyjamas, or even if you were nominated and you are pretending you are successful when you have lost.

“So the organisers have asked me to use some of my music therapy skills developed at the Munudgi Scout Hall in Woy Woy, where I do my workshops and have helped literally tens of people.

“This is to help people who have lost tonight or losers to come, to help them through difficult emotions.”

She sang a song which included the lyrics ‘You’re not going to make it, get a job. You have to be realistic, not everyone can be Daryl Somers.’

Jan also lauded a seminar she gave called ‘Female Genitalia and the Music of Rodgers and Hammerstein’.

“I will never forget a medley of three songs. ‘A Cockeyed Optimist’, ‘Bloody Mary’ and ‘A Real Nice Clambake’.

“Ladies if you do come, please bring a hand mirror.”

Comedian Joel Creasy chimed in. “A lot of people say it is all about the award but let’s be honest, it is all about the bragging rights and free stuff. At the Oscars the nominees get a goodie bag valued at over $100,000.

I’d like to thank the Helpmanns for my Cadbury favourites and Yellow Glen.”

Just as laughable is way the Helpmanns pit overseas creatives

Photos: Lightbox Photography.

See a full list of the 2017 Helpmann Award Winners on our website at http://bit.ly/2xmUsEJ (sometimes long dead) against locals.

For Best Costume Design, Cecil Beaton (who died in 1980) was up against creatives from Bangarra and Belvoir.

The winner, though, was from Broadway - Gregg Barnes won for Aladdin.

The Best Musical nominees were all from Broadway - Aladdin, Kinky Boots, My Fair Lady and the winner The Book of Mormon. This originally created a stir. “Where are the Aussie musicals?” cried Eddy Perfect.

That to me was a storm in a teacup.

Next year’s Helpmanns will likely include nominations for the Australian

created Dream Lover and maybe even Muriel’s Wedding. Smaller Australian musical productions are also starting to impress.

MEAA Equity President Chloe Dallimore departed from the script during her presentation.

“I assure Lyndon Terracini (from Opera Australia) that Australian created musicals are alive and as well as well MELBA, I was involved in Joh for PM.” It was a very satisfying evening all up. The entertainment was first rate and it was over in three hours. Who could ask for anything more?

www.stagewhispers.com.au Stage Whispers 33

Australia’s Best Suburban Theatre It’s on the same stretch of water as the Sydney Opera House, and some time over the next decade it might become a performing arts centre just as significant. The Riverside Theatre in Parramatta, thirty five kilometres from the CBD, is arguably already Australia’s finest suburban theatre - thanks largely to one man. Now it’s been given 100 million dollars for a makeover. David Spicer reports.

Slightly stooped, of medium height with silver hair, he can be seen in crowded foyers on opening nights across Sydney, and of course at the dozens and dozens of openings every year in the three venues inside the Parramatta Riverside Theatres.

“People love the current Riverside (even though) it was built like a prison (in 1988) with an exercise yard in the middle,” says Robert Love with a laugh.

He became Director of the theatre in 2000, when it sold about 50,000 tickets a year. These days almost 200,000 tickets are sold in the ‘prison’, which is a significantly larger number than attend home games of the Parramatta Eels Rugby League team.

Riverside hosts a dizzying variety of entertainment. Any month might include a blockbuster pro-am musical, art house cinema, Arabic or Chinese story-telling, a dance concert, comedies from the national touring circuit, Sri Lankan dance and one of their own completely original productions.

“Everyone wants to be a producer.

No one just wants to manage the box office and the toilets,” he quips.

Most regional or suburban theatres are a combination of “halls for hire” and producers which buy in national touring works.

Only a few exceptional regional venues might produce one or two selfgenerated original works a year Riverside does five or six, under the banner of the National Theatre of Parramatta, which now has a secure funding base.

How is it a national theatre I ask?

“We are putting the nation on stage,” says Robert with a grin.

34 Stage Whispers September - October 2017

Robert Love.

Perhaps it would be more accurate to say the National Theatre of Parramatta is putting its community on stage, at a level of professionalism not matched even by many fully funded main stage companies.

The company’s latest play was an adaptation of a novel that is set, in part, at the McDonald’s car park in North Parramatta. That is just one hundred metres away from the Riverside Theatres.

The theatre commissioned the author of the novel The Incredible Here and Now (about teenagers growing up in western Sydney) to turn it into a piece of drama.

The adaptation was the full bells and whistles. It included a fully professional cast of seven and an impressive set that featured a motor car and scaffolding to replicate the Parramatta Swimming Pool.

Directed by Wayne Harrison, it was a powerful night in the theatre which had a message that could resonate amongst teenagers in any part of Australia.

The National Theatre of Parramatta does not get much recognition in Sydney town. Robert Love says it is largely ignored by eastern suburbs and inner city theatre critics.

“We gear ourselves to local audiences - for them to come and see things they recognise.”

(He did have a point. I am an eastern suburbs theatre critic and one of the reasons I attended The Incredible Here and Now is that as a teenager I did a few shifts at McDonalds North Parramatta, where the play was set.)

The National Theatre leans towards multi-cultural themes but does not want to be typecast as the SBS of the theatre world.

A number of its original plays have been published by Currency Press.

Another exceptional work it premiered last year was Smurf in Wanderland, in a co-production with the Griffin Theatre.

The central character was a fanatical fan of the Western Sydney Wanderers football team. At kick off he divided the audience into two teams,

Photos: Heidrun Lohr.

Sydney FC on one side (eastern suburbs) and Wanderers (western suburbs) on the other.

The divide between east and west remains a big deal in Sydney.

“The state only spends a small percentage (of arts dollars) in western Sydney. We know that people like to recreate within 30 minutes of where they live.”

All that is about to change. The New South Wales Government announced in August that, with the Parramatta Council, it will spend 100 million dollars to upgrade the Riverside Theatres.

“All the ducks have lined up,” says Robert Love, tipping his hat to the feathered neighbours which swim next to the theatre.

He has grand plans for an exceptional venue that will sit impressively on the Parramatta River and draw people in, just as the Sydney Opera House draws people in further up the river/harbour.

“You should be able to come down at eight thirty in the morning and have

breakfast at a great eatery that will be part of the building.

“When you have finished, there might be a little story telling exercise around the forecourt which will be free for kids.

“Maybe something at 11.30 which is a ticketed event, also an exhibition contextualised with the program, then a big musical at night in the big theatre.

“At least two screens for cinema showing live performance and documentaries. We need discreet foyer spaces, not just one big foyer. We need to allow public movement from our park (next door) through the theatre to the river.”

He expects the venue to go up a few storeys, allowing for a 200-seat black box theatre, a medium sized 400 seater, home to the National Theatre of Parramatta, and a 1200 to 1500 seater for large scale commercial productions.

This would make it a truly exceptional performing arts space.

Robert Love admits his plans are expensive.

“We might need more than 100 million dollars,” he warns. With the electorate of Parramatta marginal for the NSW and Federal Governments, he’s in a good place to raise the dosh needed.

It’s all quite a few years off, which means Robert Love has to put any retirement plans on hold.

His career began in 1976 when he founded his own theatre company. The Toe Truck Theatre lasted 15 years, primarily in theatre in education. He later worked for organisations including the Sydney Theatre Company, News Limited and Fox Studios.

Earlier this year he was awarded an AM for “significant service to the performing arts, particularly in Western Sydney, as an administrator, and as a supporter of independent artists”.

At the time, the Council’s Administrator Amanda Chadwick wrote that “under his directorship Riverside Theatres has become one of the most highly attended theatres in the country. His passion for performing arts is truly inspiring.” www.stagewhispers.com.au Stage Whispers 35

Stage School Costume Department Costumes bring a performance to life, which is why the Costume Department at Stage School Australia goes to extraordinary lengths to create and design costumes that dazzle.

Jakarta, Indonesia, is a mecca for fabric, with streets lined with patterns and markets four stories high filled with fabric, trims and buttons. So, you can imagine the paradise Jennifer McKenzie, the Head of Costume at Stage School, was in last month when she went to visit.

Jennifer found amazing laces that will update the Titanic costume set, as well as incredible trims that will spruce up the period drama costumes. She has also taken inspiration from an Indonesian fabric dying technique.

“The technique is called Batik,” Jennifer said.

“They use wax to prevent the dye from penetrating the cloth, leaving some areas blank to create patterns.”

With the Young Australian Broadway Chorus production of Wicked in the works, there will be no shortage of designs to put all of these new fabrics and patterns to use.

But the costumes won’t all be new. The Costume Department recycle and upcycle old costumes, making sure nothing with a little bit of soul left is wasted. Wardrobe Assistant, Sean Rentaro, said “we have pieces that have lived countless lives.”

“We are constantly styling strange objects to resemble things like under the sea creatures. I even turned a tent into an elephant for the school holiday production of Aladdin.”

“We had this very, very old hand-made lace donated to us years ago,” said Sean. “But it had been lying in wait until we did The Secret Garden, when we decided to use it in the dresses made for the lead girls.”

To access one of the most extensive wardrobes of costumes in Victoria, contact the Costume Department on (03) 8199 8345 or visit stageschool.com.au/costume-hire CLOC’s Wicked.

Photo: Ben Fon.

COSTUME, EFFECTS

CLOC’s Costume Cavalcade Walking through the aisles of CLOC Musical Theatre Company’s Costume Resource Centre (CRC) is a stroll through centuries of style, fashion, colours, history and memories. This collection has well over 12,000 items from 107 productions over 53 years stored, catalogued and managed. It includes dresses, coats, suits, shirts, bowties, shoes, hats, bags, gloves, scarves, jewellery, wigs and everything in between.

Leading the dedicated CLOC costume team of loyal sewers and milliners is a formidable duo - Costume Designer/Co-ordinator Victoria Horne and her off-sider Melinda Peebles. They have worked together on 14 CLOC shows. Highlights include CLOC’s 100th production, 42nd Street, the very green Wicked, Mary Poppins (where Vicky won a Music Theatre Guild award for costume design), and then the dystopian designs of last year’s Guild Production of the Year Jesus Christ Superstar, followed by the historical accuracy and splendour of Les Misérables this year.

Vicky and Melinda are working on CLOC’s current production, A Chorus Line. After that, Vicky cannot wait to let rip with her love of sequins, feathers, taffeta and tuille when CLOC produces Strictly Ballroom.

Anyone who has seen a CLOC show in recent years will attest to the success of Vicky’s vision and her team’s artistry, skill, talents and commitment to excellence.

36 Stage Whispers September - October 2017

New Plymouth Operatic

Masquerade.

Costumes, Props & SFX

New Plymouth Operatic have a collection of sets, props and/or costumes for 23 of the biggest and best musicals around, available for hire across Australia and New Zealand. Recent additions include Sister Act, Mamma Mia! and Wicked, and more new exciting titles will be added soon.

All products are professionally designed, and done with touring in mind.

Full catalogue including photos is available online at http://npos.co.nz/show-rentals

PROP & SPECIAL MARKETPLACE 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.

Last year Ballarat Lyric was one of very few companies to produce Rock of Ages, so it is currently ‘swamped’ with double-denim, neon, animal prints, leather, plus mullet wigs!

Visit the Costume Hire Department on Tuesdays & Thursdays between 4pm and 5.30pm or by appointment. Contact Marie on 0439 700 219 or email ballaratlyrictheatre@gmail.com www.ballaratlyrictheatre.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 and interpretive creations to suit. The base for the main characters of Simba, Mufasa and Scar are printed chiffon ‘African Pants’ which are worn with lion ears and gauntlets. The lionesses have metres of taupe chiffon linked with ‘tribal’ patterned bodices.

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 or email info@costumeswithoutdrama.com.au www.costumeswithoutdrama.com.au

www.stagewhispers.com.au Stage Whispers 37

A Revolution In Pyrotechnics Is Here Geelong Fireworks introduce Sparkular, the world’s first firework machine.

Many venues do not allow indoor pyrotechnics for productions, citing fire risk, smoke or smell. However, recent advances in technology have produced a non-firework machine that gives the same effect as indoor pyrotechnics.

It is not classified as a dangerous good, it uses no gun powder and produces no heat.

If your actors get too close to the Sparkular silver fountains it is not a problem, as the operator can immediately stop and restart it.

Even if they do get too close, it is not an issue, as Sparkular is uniquely safe!

Demonstrators have held sheets of paper, arms, styrofoam, cellophane, a feather duster, and even a smoke alarm over the middle of the silver fountain effect. Sparkular has zero impact on these items.

Geelong Fireworks is one of a select few companies to offer Sparkular - the next generation of indoor fireworks - to its customers.

To see the revolutionary Sparkular in action visit www.geelongfireworks.com.au/sparkular.php

Masks And Puppets Plus

Images of masks by Melbourne artist Tessa Wallis were chosen by the Classics Theatre of Rochester New York for the promotion of The Theban Plays of Sophocles in August.

Oedipus Rex, Oedipus at Colonus and Antigone were presented in a modern translation by Canadian scholar, Ian Johnson.

“These three plays of the ancient Greek master lie at the very root of western drama and were adapted here in condensed form as a cohesive trilogy,” artistic director James Landers said.

Classics Theatre of Rochester is an educationally-based theatre dedicated to reviving great works of dramatic literature. “I was delighted my masks were chosen to appear on its promotion,” said Tessa Wallis.

“I have worked hard for many years to supply masks to clients everywhere, both in Australia and internationally.

Tessa Wallis mask designs are versatile, comfortable and durable. They are made to order and hand crafted from quality materials. Masks include; Commedia dell’Arte masks, masks for Greek or Roman mythology, Japanese Kabuki masks, masks of domestic and wild animals and witches or fantasy masks.

Email your orders to Tessa at Masks & Puppets Plus at tessa@masksandpuppets.com.au “Greek” masks by Tessa Wallis chosen by the Classics Theatre, Rochester, New York for its promotion of The Theban Plays of Sophocles.

38 Stage Whispers September - October 2017

Costumes, Props & SFX

highway robber who cross-dressed as a man to evade capture, a servant girl who was wrongfully convicted, and there’s also a prostitute,” said BFA (Costume) student Sasha Wisniowski.

With no documented evidence of what types of clothing convicts were wearing at the time of the performance, the students looked to where they originated, which was The ghosts of a bygone audience took their seats at Sydney’s Hyde Park Barracks Museum during August, England, Ireland and France.

‘Because my character is a prostitute, she’s trying to stitched together by students from the National attract attention, with colour especially. And of course Institute of Dramatic Art’s Bachelor of Fine Arts everything at that time was handmade, so there are (Costume) department. variations on the clothing. Clothing in bulk didn’t exist back then, nor did fashions across everything. Everyone had a Sydney Living Museums hosted a theatre-inspired slightly different look,’ said Ballinger. installation entitled Whispers from the Past: The Recruiting The students learned corset-making for styles taken from Officer, for which NIDA students created costumes. the 1780s in particular, and, as the style of the time was to The installation transported visitors back in time around have myriad of items under the final layer’s surface, they 230 years to 1789 for an immersive representation of layered and padded the undergarments to create the colonial Australia’s first known theatrical performance, The appropriate silhouettes. Patterns were draped over these Recruiting Officer by Irish playwright George Farquhar, shapes to develop the outer garments. which was performed by convicts for the military and This isn’t an average 1700s audience, and each is made civilian elite as well as other convicts. to look ghostly, reflecting elements of their life journey.

Each of the five NIDA second-year students designed Students were given control over the entirety of the and made a costume for a female audience member. project, from designing and making to finishing, enabling “We were tasked with recreating the audience of the them to take full ownership of the final piece. first known theatre production, The Recruiting “Because many of the projects we work on are plays, Officer, which I believe happened a year or so after the First there’s already a designer’s vision there, which is really fun.

Fleet arrived in Australia. On top of that, for the purpose of I really like being given a picture and told to interpret that the exhibition we were creating them as ghosts,” said BFA but with this project, it’s been great to be given a concept (Costume) student Lauren Ballinger. and told to figure it out ourselves,” explained Ballinger.

“We carried out research into the convicts who were on “The most rewarding part about this project, aside from the First Fleet, looking into their background and stories, the learning, is that at the very end, when the garment is and from that we built our own characters and designed made, we can say: I did this, I did every part of it,” Sasha costumes for them. We have a woman who was a nurse, a added.

Ghosts Of Theatre Past

www.stagewhispers.com.au Stage Whispers 39

B

roadway uzz

By Peter Pinne

Disney has announced that their new stage production of Frozen will begin previews at the St James Theatre 22 February 2018 for an opening scheduled for late-March. The production is currently playing its pre-Broadway tryout at Denver Center for the Performing Arts, where it runs until 1 October 2017. Frozen stars Cassie Levy (Elsa), Patti Murin (Anna), Jelani Alladin (Kristoff), Greg Hildreth (Olaf), John Riddle (Hans), and Robert Creighton (Duke of Weselton).

Based on the hit 2013 animated film, it has music and lyrics by husband and wife team Kristen Anderson-Lopez (In Transit) and Robert Lopez (The Book of Mormon/Avenue Q), who created the songs for the movie, and a book by Jennifer Lee (Zootopia), the film’s screenwriter and director (with Chris Buck). Michael Grandage directs with choreography by Rob Ashford. The score includes the Oscar and Grammy winner “Let it Go”, voiced in the film by Idina Menzel as the character of Elsa.

Disney’s Frozen. Photo: Andrew Eccles.

Online extras!

Meet the creatives making Disney’s Frozen “a perfect Broadway musical”. https://youtu.be/TNzG5dNay5Q Alexander Spencer-Jones’ critically acclaimed West End production of A Clockwork Orange begins previews at New World Stages 2 September for an opening night 25 September. It will play a limited sixteen week run through 6 January 2018. Based on Anthony Burgess’ book, which has been called one of the “100 Greatest Novels of All Time” by Time magazine and The Guardian, the production played a sold-out season at London’s Park Theatre in February 2017, after a run at the Soho Theatre in 2012. Jonno Davies (Shakespeare in Love), who was sensational as Alex De-Large in London, a performance called “one of the standout lead performances of the year” (Broadway World UK), will repeat the role in New York. The explosive story of little Alex and his rebellious gang of Droogs, a ground-breaking classic of orgiastic ultra-violence and sexuality, became a groundbreaking movie when Stanley Kubrick brought it to the screen in 1971. This 2017 production celebrates the centennial of Burgess’ birth in 1917.

40 Stage Whispers September - October 2017

Tim Minchin’s 2017 Olivier Award-winning musical Groundhog Day is closing on Broadway Sunday, 17 September after 32 previews and 176 performances. The musical was based on the 1993 Bill Murray movie about a jaded TV weatherman, Phil Connors, who gets stuck in smalltown America and relives his day on repeat. It was Minchin’s second major musical, following his hit score for Matilda The Musical. Groundhog Day’s book was by original screenwriter Danny Rubin, with direction by Matthew Warchus who also directed Matilda. The musical starred Andy Karl, who won an Olivier Award for his performance of the role in London, and an Outer Circle and Drama Desk Award for Best Actor in a Musical on Broadway. The show also featured Barrett Doss and Rebecca Faulkenberry.

Paper Mill Playhouse, New Jersey, is to open its season 28 September with the world premiere of the new musical comedy The Honeymooners. Based on the iconic CBS television series, the musical has a book by Dusty Kay and Bill Nuss, with music by Stephen Weiner and lyrics by Peter Mills.

The plot finds Ralph Kramden and his buddy Ed Norton winning a high-profile jingle contest which catapults them out of Brooklyn into the high-flying cut-throat world of Madison Avenue advertising, where they discover their quest for the American Dream might cost them their friendship.

Michael McGrath (Nice Work if you Can Get It) stars as Ralph, Michael Mastro (West Side Story) as Ed, with Leslie Kritzer (Something Rotten!) and Laura Bell Bundy (Legally Blonde) as the wives, Alice and Trixie. John Rando directs with choreography by Joshua Bergasse and musical direction and vocal arrangements by Remy Kurs. The original 1955 TV series (in B&W) starred the incomparable Jackie Gleason as Ralph and Art Carney as Ed. Jason Alexander stars alongside Sherie Rene Scott and Mary Testa in John Patrick Shanley’s The Portuguese Kid for Manhattan Theatre Club, which begins previews at New York City Center - Stage 1, 19 September, and opens 24 October.

The play is described as follows - “In Providence, Rhode Island, the habitually widowed Atalanta (Scott) pays a visit to her second-rate lawyer Barry Dragonetti (Alexander) intending to settle her latest husband’s affairs, which quickly become a nightmare for her cheesy self-aggrandising lawyer.

Add in Barry’s impossible Croatian mother (Testa), a dash of current politics and a couple of opportunistic young lovers and you have a recipe for comic combustion.” The play was developed at Vassar and New York Stage and Film’s Powerhouse Theater season in 2016.

Beginning 19 September, York Theatre Company kicks off its 2017/18 season with the musical Desperate Measures, a country twist on Shakespeare’s Measure for Measure. Music is by David Friedman (Listen to my Heart), book and lyrics by Peter Kellogg (Anna Karenina), with direction and choreography by Bill Castellino (Cagney). In 1890, in a territory out west, Johnny Blood, a hot-tempered young cowboy is sentenced to hang for killing a man in a bar fight.

His sister, a novice nun in a nearby mission, is persuaded to plead with a corrupt governor to spare her bother’s life. The governor promises to pardon Johnny if his sister, the Sister, will ‘do his bidding’ for the night. The characters also include a hard-bitten sheriff, a voluptuous saloon girl and a priest who reads Nietzsche.

London Calling

By Peter Pinne The Almeida Theatre’s production of James Graham’s Ink received such glowing reviews that it was a natural to transfer to the West End. It opens at the Duke of York’s Theatre 11 September and plays until 6 January 2018. Set in 1969, it tells the story of Rupert Murdoch, who was trying to make it big in Fleet Street, and his quest to “create a popular paper for the masses”. The result became Britain’s most influential newspaper - The Sun. Richard Coyle’s performance as the paper’s editor Larry Lamb was said to be “all finely tuned crude ambition” but it was Bertie Carvel’s Murdoch that garnered the hosannas - “He does not waste words or gestures; he does not so much move as uncoil…

Carvel has long been one of our most continually selfdisguising of actors. Magnificently ballooning as Matilda’s Miss Trunchball, steadily betraying in telly’s Doctor Foster.

Unmissable as Murdoch.” (Susannah Clapp, Guardian) Ink. Photo: Marc Brenner.

Online extras!

James Graham discusses his writing process and approach to Ink. Scan or visit https://youtu.be/JzLs5YHGuw0 Samantha Bond is joined by James Dreyfus, Tony Gardner and Alexandra Gilbreath in Menier Chocolate Factory’s English language premiere of Florian Zeller’s The Lie, which plays from 14 September - 18 November. Zeller, a French novelist and playwright is, according to The Guardian, “the most exciting new theatre writer of our time”. French theatre group Theatre in Paris originally premiered the play in Paris in 2015, where it was titled Le Mensonge. The plot is about a woman, Alice, who sees her friend’s husband with another woman. She is torn on whether to tell her fiend or lie to her, the latter being what her husband Paul believes she should do. Should she lie to her friend, or would she be better off none the wiser? It’s directed by Lindsay Posner and adapted by Christopher

Hampton, his fourth adaptation of plays by Zeller. The previous three were The Truth, The Mother and The Father.

The latter transferred to Broadway where it won a Tony for Frank Langella.

BBC Two have announced that the current West End production of Hamlet starring Andrew Scott (Sherlock/ Spectre) is to be telecast in 2018. Patrick Holland (controller, BBC Two) and Emma Cahusac (commissioning editor, Arts), have commissioned the production to be shot live in front of an audience at the Harold Pinter Theatre during the West End run by Illuminations Television. Robert Icke’s production, which initially opened at the Almeida Theatre earlier this year, was hailed with five star reviews praising Scott’s performance and transferred to the Harold Pinter where it ends its run 2 September. Holland said, “Andrew Scott is utterly thrilling. His performance makes each familiar word of the play feel like it is being newly discovered. The staging in a modern-day Denmark makes for a startlingly resonant and challenging production. I am delighted it is coming to BBC Two.” On the 14th, 15th and 16th September, The Other Palace will workshop three special concert-style performances of Andrew Lloyd Webber’s musical Starlight Express. The show’s original creative team will work on the piece with a group of actors focusing on the score and lyrics. The show, about a child’s train set which magically comes to life, has a score by Andrew and Alistair Lloyd Webber, and David Yazbek, with lyrics by Richard Stilgoe, Don Black, Nick Coler and Yazbek. The songs include “I Am the Starlight”, “Rolling Stock” “AC/DC”, “A Lotta Locomotion”, “Hitching and Switching” and “Only He”. The show is famous for its inventive choreography on roller skates. The musical opened in the West End in 1984 and ran for over 7,000 performances. In Germany over 15 million people have seen it in a production that has run in a purpose-built venue for almost 30 years.

The Other Palace is currently featuring a new Burt Bacharach musical, Some Lovers, in their From Page to Stage new musical festival which runs until 2 September. It’s the first stage musical Bacharach has written since 1968’s Promises, Promises. Working with Tony and Grammy Award -winning writer Steven Sater (Spring Awakening), the legendary Bacharach calls Some Lovers “a Valentine to the New York we’re always leaving behind.” It’s inspired by O. Henry’s short story The Gift of the Magi. The piece was previously heard at an industry-only workshop at Southwark Playhouse 17 February directed by Tim Sheader, and at a Lincoln Center, New York concert in 2016. Seven songs from the score can be heard from the concert on YouTube.

New cast members join The Phantom of the Opera from 4 September. Ben Lewis takes over the title role, Kelly Mathieson becomes Christine Daae, and Jeremy Taylor is the new Raoul. Lewis had previously played the character in the Australian production of the Phantom sequel Love Never Dies, Mathieson has opera credits of Le Nozze de Figaro, Agrippina and Orpheus in the Underworld, whilst Taylor appeared in the West End as Fiyero in Wicked, and in We Will Rock You and The Sound of Music.

www.stagewhispers.com.au Stage Whispers 41

Stage on Page

By Peter Pinne

THE SECRET LIFE OF THE AMERICAN MUSICAL - How Broadway Shows are Built by Jack Viertel (Sarah Crichton Books/Farra, Straus & Giroux US$16.00) (294p) This book is based on a musical theatre course given at New York University’s Tisch School by Encores!

Artistic Director Jack Viertel, in which he dissects the texts of four classic Broadway musicals from the “Golden Age”, Gypsy, Guys and Dolls, My Fair Lady and South Pacific, to discover the formula of what made them successful. But these shows are merely a jumping off point for what is basically a discussion of Broadway hits and flops and why they worked or why they didn’t.

Viertel moved from the non-profit sector to the commercial arena in 1987 when he became senior vice president of Jujamcyn Theatres, where he steered City of Angels and Angels in America to Pulitzer Prize and Tony wins, and was creative consultant on Hairspray, A Christmas Story, and this year’s Tony winner Dear Evan Hanson, amongst others, so he certainly knows his milieu.

By giving examples of opening numbers, “I want” songs, conditional love songs, act-one and two endings and eleven o’clock numbers, the book

covers a lot of territory with just as much about recent entries - Wicked, The Book of Mormon and Hamilton as there is about older shows.

In talking about show openings, he cites “Comedy Tonight” from A Funny Thing Happened on the Way to the Forum as the perfect example of how a show was salvaged by its opening number. Out of town the show was dying until Jerome Robbins came in, took a look at it and said “Love is in the Air”, which opened the show, whilst pretty, doesn’t tell the audience what the show is all about, so Sondheim sat down and wrote “Comedy Tonight”. From the moment it was inserted into the show it turned the show around and made it into a hit. His other good examples of openings are The Music Man’s travelling salesmen’s “Rock Island” rap, Fiddler on the Roof’s “Tradition”, Cabaret’s “Wilkomen”, and the ballets that begin Carousel and Guys and Dolls (Runyonland), all of which set up the place, plot and style.

His list of hero ‘I Want’ songs are Tony’s “Something’s Coming” (West Side Story), Eliza’s “Wouldn’t it be Loverly” (My Fair Lady) and Hamilton’s “(I’m not Throwing Away) My Shot”, whilst his ‘Unconditional Love Songs’ include Carousel’s “If I Loved You” bench scene, Sarah’s “I’ll Know” from

Stage Whispers Books Visit our on-line book shop for back issues and stage craft books www.stagewhispers.com.au/books 42 Stage Whispers September - October 2017

Guys and Dolls, and the underrated “Come Out of the Dumpster” from The Wedding Singer.

The chapter on ‘Bushwhacking 1’ features the importance of second couples like Fraulein Schneider and Herr Schultz in Cabaret and Penny and Seaweed in Hairspray, with ‘Bushwhacking 2’ devoted to villains; Jud Fry (Oklahoma!), Jigger (Carousel), Judge Turpin (Sweeney Todd), and, although he’s comic, the dentist in Little Shop of Horrors.

Perfect act-one closings are Gypsy’s “Everything’s Coming Up Roses”, Rent’s “La Vie Boheme” and the almost -end-of-the-act “Soliloquy” in Carousel.

Writing for stars is covered in Annie, Gypsy and Guys and Dolls (“Adelaide’s Lament”), whilst his gold standard eleven-o’clock numbers are the strippers routine, “You Gotta Get a Gimmick” (Gypsy), the “Tonight Quintet” from West Side Story which he calls the finest finaletto in musical theatre history, and the lump-in-thethroat moment when Anna and the King touch for the first time and dance in “Shall We Dance” in The King and I. He also finds room to discuss the Sondheim concept musicals, LloydWebber’s oeuvre, and how producerdirector Harold Prince turned down the opportunity to direct Hello Dolly! in part because he couldn’t figure out what the number was doing in the show. Prince thought Dolly Levi was not someone who was likely to be celebrated by the entire staff of the Harmonia Gardens restaurant. But Prince was thinking of the character.

Jerry Herman (composer), Gower Champion (the eventual director and choreographer) and David Merrick (producer) were thinking about the star (Carol Channing) and they gave the audience the thrill of a lifetime in one of the greatest numbers ever wrapped around a title song.

The book has an addendum called ‘Listening to Broadway’, which lists cast recordings of the shows mentioned in the book, and a chapter called ‘The Missing Links’ which talks about shows he missed in the main text. They include Bye, Bye Birdie, Annie Get Your Gun, Chicago and Follies.

It’s an easy read, authoritative, and an engrossing discourse on the nuts and bolts of putting together a Broadway musical.

Road Show and Lloyd Webber’s Whistle Down the Wind.

Both composers share the same birthday, 22 March, but Sondheim was born in 1930 and Lloyd Webber in 1948. In terms of theatre innovation they’re miles apart, with Sondheim experiencing first hand the revolution that Rodgers and Hammerstein’s Oklahoma! brought to musical theatre of the “Golden Age” and LloydWebber coming of age when it was almost over.

Citron believes they are the two most influential composers in musical theatre in the last fifty years, with Sondheim appealing to the cultists and academics, and Lloyd-Webber to the sentimentalists and romantics.

He discusses the early careers of both; Sondheim’s college musicals, his writing for TV’s Topper series, and meeting his muse Oscar Hammerstein SONDHEIM & LLOYD-WEBBER - The II, and Lloyd Webber growing up in a bohemian household, a father who New Musical by Stephen Citron taught at the Royal College of Music, (Applause US$24.99) (403p) writing musicals for a toy theatre, and This recent Applause Theatre & Cinema Books release is a reprint of the his teaming up with Tim Rice. hardcover version first published in Sondheim’s lyric-only assignments 2001 as one of the Great Songwriters on West Side Story, Gypsy and Do I Hear a Waltz and his experiences series, which includes Noël Coward, Cole Porter, Alan Jay Lerner and Oscar working with Leonard Bernstein, Richard Rodgers and Jule Styne make Hammerstein II. Nothing has been added to the original text but it does for an interesting read. Contrary to come as far forward as Sondheim’s musical-theatre legend, Sondheim did not write any music for West Side

Story, but he did take the verse of a piece Bernstein had written and made it into the song “Something’s Coming”. It’s often been quoted that Sondheim was furious when he discovered Styne had used the melody for “You’ll Never Get Away From Me” prior to Gypsy in a TV musical version of Ruggles of Red Gap. What he didn’t know was that Styne had even used it before that as a song (with a Sammy Cahn lyric) for an unmade movie called Pink Tights, where it was originally called “You’ll Never Get Away From Me” and later retitled “Why Did You Have To Wait So Long”.

Only two Sondheim shows have ever recouped on Broadway, A Little Night Music and Into the Woods, and none have played over 1000 performances. Funny Thing came closest with 964 performances. In contrast, Lloyd Webber’s Broadway performances are phenomenal; Evita played 1,568 performances, Cats 7,485, and The Phantom of the Opera is currently in its twenty-eighth year and the longest running musical on Broadway ever.

Citron discusses the Prince/ Sondheim concept musicals and their influence on musical theatre, likewise Lloyd-Webber’s sung-through rockoperas and their ilk. Lloyd Webber’s private life and his marriages are frequently referred to but there’s only one minor mention of Sondheim being gay.

There are many musical quotes throughout the book, with a glossary of terms at the end to help the musically illiterate reader understand what point he is making. There’s also a chronology of both composers’ works, which includes what was playing on Broadway and in the West End juxtaposed with world events of the time.

Although the text is Sondheimheavy, Citron’s final flower goes to Lloyd Webber, “No matter what the term and the opinion of the intelligentsia, many of whom would never attend a Lloyd Webber opus, he is the musician who has probably given more joy to more people in the theatre than any other living composer.” It’s a scholarly appraisal of their work. www.stagewhispers.com.au Stage Whispers 43

appropriate for a show set in Canada’s Newfoundland, whose musical heritage is Irish. The story about the aftermath of 9/11 when USA airspace was closed and planes were diverted to the small township of Gander,

By Peter Pinne Newfoundland, wears its heart on its sleeve and is totally Anastasia (Stephen Flaherty/Lynn Ahrens) (Broadway touching. An ensemble cast of 12 enact a multitude of Records BR-CD07017) characters in a 90 minute almost sung-through show. Jenn Ahrens and Flaherty’s score for their stage version of Colella, as an American Airlines pilot, scores with “Me and the Sky”, Q. Smith’s “I Am Here” is searing, whilst Anastasia comes up very well on CD. It’s well-sung, wellrecorded and at times sparkles. Five songs are retained from “Something’s Missing”, sung by the company, is highly the animated version including the hit “Journey to the Past” emotional.  which becomes the first-act closer and is dynamically sung

by Christy Altomare as Anya, the would Blondel (Stephen Oliver/Tim Rice) (Stage Door 9050) Thanks to Stage Door, the 1984 cast recording of -be Russian Princess. “Paris Holds the Blondel has now been re-issued on CD. It was Tim Rice’s Key (To Your Heart)”, whilst generic, is first time working without Andrew Lloyd Webber and the given a rousing spin as the second-act opener with the pretty “Once Upon A score, written with opera composer Stephen Oliver (but December” used thematically sounding nothing like opera), shows him at his wittiest. In throughout and even cleverly style it’s an anachronistic piece like Joseph and the Amazing Technicolor Dreamcoat and a second-cousin to the recent cult TV series Galavant, set in 1189 at the time of Richard Online extras! the Lionheart, and uses rock and pop styles to tell its story Sing along with the Broadway cast of of a court musician who wants to write a pop madrigal.

Anastasia. Scan the QR code or visit Rice, with his Top 40 background, is a past master at http://apple.co/2ieAyZT setting clever lyrics to pop. “I’m a Monarchist”, with its rock ‘n’ roll bass-line and girl backing-group (The Blondettes) is in perfect hands with the show’s star incorporated into the second-act Swan Lake ballet Paul Nicholas. Rice has a field day with sequence. Of the new songs “In My Dreams”, a solo for Altomare, registers strongly, as does the trio “We’ll Go from countless rhymes for John in “No Rhyme for Richard”, Chris Langham is There” sung by Altomare, Derek Klena (Dmitry) and John Bolton (Vlad) when they’re on their way to Paris. The amusingly evil on “Assassin’s Song” (‘it’s delicious, being vicious’), Rasputin story thread from the movie has been dropped and David Burt and the Monks (a closeand replaced by a young Bolshevik character, Gleb, obsessed with Anya. Ramin Karimloo brings his considerable musical-theatre chops to the role but Online extras! unfortunately Ahrens and Flaherty have given him nothing Get your hands on the newly re-issued decent to sing. Caroline O’Connor, although she only CD of Blondel from Amazon. appears in the second-act, fares better, joyously belting the http://amzn.to/2ifuHUg ode to Russia “Land of Yesterday” and getting good comic mileage with Bolton out of the twenties-sounding “The harmony male quartet) sing a jaunty “I Can’t Wait to be Countess and the Common Man”. Doug Besterman’s orchestrations sound lush and perfect for the score’s King”. The plaintive “Running Back for More”, sung by sweeping waltzes and Russian inspired themes, yet Sharon Lee Hill, was a minor hit at the time and the single bewilderingly the most well-known song, “Journey to the release is included as one of the bonus tracks. The others Past”, is not repeated at the finale.  are Colm Wilkinson’s “The Least of my Troubles” and another version of “Running Back for More” by former “Superstar” Murray Head.  Come From Away (Irene Sankoff/ David Hein) (The Musical Company MC00001) Lost West End Vintage (Stage Door 9051).

The score for this new feel-good The post-war British musical of the forties and fifties is musical of the current Broadway given a loving restoration in the new 2 CD set from Stage Door. Featuring 52 tracks, it covers the period from 1948 to season is in the folk, Irish jig and Riverdance vein which is entirely 1962 and includes songs from 35 West End musicals, many of them produced in Australia; Zip Goes a Million, Grab Me a Gondola, Lock Up Your Daughters and Stop the World - I

Stage On Disc

Online extras!

Pick up the cast recording of Come From Away on iTunes. Scan or visit http://apple.co/2ieL839 44 Stage Whispers September - October 2017

Rating  Only for the enthusiast  Borderline  Worth buying  Must have  Kill for it

Want to Get Off. It’s a collection of original and studio cast recordings and features the voices of Cliff Richard, Tommy Steele, Petula Clark, Sally Ann Howes, Frankie Howerd and Elisabeth Welch, in material by Ivor Novello, Noël Coward, Julian Slade, Sandy Wilson, Lionel Bart, David Heneker, Vivian Ellis and Leslie Bricusse. It’s a smorgasbord of delights with many great songs, too many to name, but those that stand out are “I Leave My Heart in an English Garden” (Dear Miss Phoebe) by Edmund Hockridge, “The Shrine on the Second Floor” (Expresso Bongo) by Cliff Richard, and the achingly beautiful “If I Ever Fall In Love Again” (The Crooked Mile) by Elisabeth Welch. Grab Me a Gondola’s title tune and

Never Walk Alone” (Carousel), sung with choir and sounding even bigger than Il Divo. Best track is undoubtedly Twilight’s “A Thousand Years”. If you like big theatrical singing it doesn’t come much better than this. 

Online extras!

Get swept up by the gravitas of the performances of these two stage greats. http://apple.co/2ieDMfX

Sierra Boggess - Awakening Live at 54 Below (Broadway Records BR-CD54B-010) A recent visitor to out shores, Sierra Boggess repeats her Online extras! act almost verbatim in this 26-track CD recorded live in New Rediscover these lost classics by picking York at 54 Below. The former Disney Princess (A Little up the Lost West End Vintage album.

Mermaid) and Andrew Lloyd-Webber leading-lady (Love http://amzn.to/2if986t Never Dies, The Phantom of the Opera) brings her glorious soprano to a clutch of show and film songs. “How “Portobello Road” (Make Me An Offer) are marvellously Come” (Tom Sawyer) and “Just Around the raucous, Beatrice Lillie imbues “Typically English” (Stop the Riverbend” (Pocahontas) are lovely, as is “Part of my World) with her own brand of fey whimsy, and Valmouth’s World” (The Little Mermaid) but “Smoke Gets In Your “My Big Best Shoes” gets two bites of the cherry with the Eyes” (Roberta) is top-drawer. She has fun with a Garlandoriginal version by Beatice Reading and one by Tommy esque version of “I Don’t Care” and an “Ultimate Medley” Steele with altered lyrics to fit a ‘mod’ rocker. There are also of Andrew Lloyd-Webber, and ends two versions of “Ordinary People” (Zip Goes a Million), one with a soft and sweet “A Dream is a by replacement lead Reg Dixon and a bonus live track with Wish Your Heart Makes (Cinderella). original star George Formby and Petula Clark. The other Her new-age patter is tiresome at bonus track is a first time recording of four songs from times, but when she sings she charms Scapa, a musical version of Seagulls over Sorrento, sung by everyone in the room.  David Hughes. It’s an important release, a great collection and well-worth a listen.  Michael Ball & Alfie Boe - Together (Decca 4794434) On the eve of their Australian tour, Universal Music have released Michael Ball and Alfie Boe’s top selling UK album Together. The two West End stars are in their element, singing a selection of show songs and standards accompanied by the Prague Symphony Orchestra and the Royal Philharmonic. Having both sung roles in Les Misérables, the musical is in their DNA so the opening track, a medley of “Bring Him Home”, “Empty Chairs at Empty Tables” and “I Dreamed a Dream” is no surprise, nor are titles from Phantom, Chess and West Side Story, but Gershwin’s “I’ll Build a Stairway to Paradise” (An American In Paris), and “Incurably Romantic” (Let’s Make Love) are way out of the box. Blood Brothers’ “Tell Me It’s Not True” is hauntingly sincere, there’s a nice low-key version of “I’ll Be Home For Christmas” and a full allstops-out vocal onslaught on “You’ll

Online extras!

Be charmed by Sierra Boggess’ tribute to film and show songs. Scan or visit http://apple.co/2ifuWyE

www.stagewhispers.com.au Stage Whispers 45

New Releases

Choosing A Show ORiGiN™ Theatrical www.origintheatrical.com.au Ghost the Musical Ghost the Musical follows Sam and Molly, a young couple whose connection takes a shocking turn after Sam’s untimely death.

Trapped between two worlds, Sam refuses to leave Molly when he learns she is in grave danger. Desperate to communicate with her, he turns to a storefront psychic, Oda Mae Brown,

down for a reasonably sized ensemble piece. Also available is the new, Small Cast version and Ghost School Edition.

Resources: Show/Ready Rehearsal Tracks, Stage/Tracks Performance Tracks, Keyboard Patch Pro, Scenic Projections. who helps him protect Molly and avenge his death. Featuring the hit songs “With You” & “Unchained Melody”.

This show can accommodate a large chorus of 30+ or be trimmed

Music Theatre International www.mtishows.com.au If/Then Now available for licensing for musical societies in Australia and New Zealand “Intense and thrilling. The most compelling New Musical in years!” - New York Magazine With unforgettable songs and a deeply moving story by the Pulitzer Prize and Tony Award-winning creators of Next to Normal, If/Then is a contemporary musical set where choice and chance collide.

Read the free online perusal: www.mtishows.com.au/news/free-online-perusal-ifthen For more information, visit: www.mtishows.com.au/ifthen

Email Ghost for a free perusal download of your choice of Full Cast, Small Cast or School Edition to enquiries@originmusic.com.au www.origintheatrical.com.au/work/8593

Little Miss Sunshine Based on the Hit Oscar-Winning film, Little Miss Sunshine is now available for licensing for musical societies in Australia and New Zealand.

“An ingenious invention that honours the hit movie while, unlike so many adaptations, happily justifies its life on the stage.” - Newsday From the Tony Award-winning team of James Lapine and William Finn comes Little Miss Sunshine, an outrageously funny and surprisingly touching musical about one modern family’s unexpected route to brighter days.

Free online perusal: www.mtishows.com.au/news/free-online-perusal-little-miss-sunshine For more information, visit: www.mtishows.com.au/little-miss-sunshine

JOIN THE CONVERSATION! Follow us on Twitter: www.twitter.com/stage_whispers Like us on Facebook: www.facebook.com/stagewhispers 46 Stage Whispers September - October 2017

International Junior Theatre Celebration OzTheatrics and AMICI Trust, in collaboration with international partner iTheatrics and sponsor Music Theatre International, Australasia, will present the second annual Junior Theatre Celebration in October.

The Junior Theatre Celebration hosts national and international musical theatre celebrities and provides an opportunity for young people ages eight to eighteen years in Australia and New Zealand to celebrate their love of musicals and experience the transformative power of theatre.

The day includes adjudications by local and Saturday Oct 21, 2017 - Aotea Centre, Auckland. international industry professionals, workshops for www.nztheatrics.org.nz students, theatre celebrities, a New Works Showcase of titles soon to be available, awards ceremonies and the Saturday Oct 28, 2017 - Civic Theatre, Newcastle. largest collection of musical theatre professional www.oztheatrics.com development under one roof.

Throughout the day, participating groups present a 10-minute excerpt from their recent Broadway Junior™ musical in front of their peers and an adjudication panel of distinguished theatre professionals.

Following each performance, students receive valuable and constructive feedback from the adjudicators.

The Junior Theatre Celebration is inspired by the American Junior Theater Festival (JTF), held in January each year with over 6,000 participants in attendance.

www.stagewhispers.com.au Stage Whispers 47

used with APRA licensing, and also a lot of great music Choosing A Show is now available free as Public Domain.

Offering to share the food or bar take with another organization, e.g. local Lions or Rotary club, golf club or other sporting body, increases your community involvement and ensures a larger audience.

This also delegates some of the responsibility of the production to others, who in turn generate more audience from their workmates, friends and families.

If you have small towns close by, theatre restaurant is ideal for touring. Many hotels or clubs will let you have their venues, even sell the tickets in advance for you, for a split of the ticket price. They will then provide the catering and drinks. You can reap the rewards.

Queensland writer Judith Prior has been delighting audiences with her theatre The meal content of the restaurant comedies for decades. She explains how communities can get the show may be as lavish as a three course meal in a most out of them. licensed premises, or as Writing comedy, The relaxed atmosphere Musical involvement, simple as finger food, fish especially theatre restaurant of dinner theatre attracts a either taped or live bands, and chips, or pizza and BYO scripts for community wider audience, including a backing tapes or just one drinks, even just nibblies, theatre, is an art form in lot of people who may not musician, will enhance the cheese and crackers and BYO itself. The jokes need to be regularly attend theatre. production and help to drinks in a local hall. topical, funny, able to Many of these will gladly involve the audience, a must If your group have never include local characters and form a large party to attend for this type of production. staged this type of show, I just a little bit naughty, with a dinner theatre show.

APRA licensing for urge you to consider one for lots of double entendre.

Corporate dinners, end of interpolated music is not your end of year production.

They must be able to be year break up parties etc. difficult to obtain; if you set Many theatre groups all over delivered by a thespian who allow us to present our your music early and work Australia stage at least one may have to face their theatre piece to many more with APRA the show will run of these productions every audience members possible aspiring thespians. smoothly. year. Consistently these tomorrow morning in the New members may often be I am firmly of the belief shows are the main money street or as a teacher, bank recruited from audience and that this type of theatre is spinners for their teller or local Mayor. volunteers from catering and not really suited to original organizations. With the As a community theatre other groups involved in the music, no matter how good profits made from such a production, theatre production, to swell the it is - with dinner and a few show, more challenging and prestigious pieces may be restaurant has a lot to offer. membership in your theatre drinks your audience are Not only are these shows group. More members, more possibly going to want to financed. simple to stage and audience, more bums on sing along, or at least sit Endorsements from long costume, one simple set will seats. What more could you back and listen to music that term users of my many work admirably. They are want? is familiar to them. Many old scripts continue to tell me also relatively inexpensive to hit parade songs may be “Your plays are so funny and produce and can be a real just so doable. We all had a See all of Judith Prior’s scripts at money spinner for your ball, and so did our organization. audiences.” www.davidspicer.com.au/author/judith-prior Young Theatre Company’s Sailing South.

Theatre Restaurant

48 Stage Whispers September - October 2017

Stage Heritage

Gladys Moncrieff advertisement.

QPAC Museum Reg. No. 1997.0136.0116.

Theatre History Buff Heaven The Performing Arts Heritage Network (PAHN) conference will take place in Adelaide in October and organisers say it looks to be a fascinating two-day discussion about all things related to performing arts histories.

PAHN is a constituted division of Museums Galleries Australia and brings together people with a passion in collecting, preserving, providing access to and learning about the performing arts heritage of Australia.

This year in Adelaide Julian Meyrick will deliver the keynote, Joanne Tompkins from the University of Queensland will share her research on the Old Queen’s Theatre, the oldest extant theatre on mainland Australia and Archaeologist Guadalupe Cincunegui will give a presentation on artefacts found on the site of the adjacent New Queen’s Theatre, built in 1846.

PAHN Adelaide 2017 is scheduled for 12 October at Flinders University Victoria Square and 13 October at University of Adelaide. Tickets are available at www.pahn.org.au and will set you back just $50 for the main day (Thursday). www.stagewhispers.com.au Stage Whispers 49

Stage Briefs

ďƒ¨ Michele Lansdown (Dolly Levi) and Christopher Hamilton (Horace Vandegelder) in Miranda Musical Society’s Hello, Dolly! at Sutherland Entertainment Centre from Sept 13 to 17.

Read more at our website: http://bit.ly/2vrlTwV

50 Stage Whispers September - October 2017

 The cast of Chatswood Musical Society’s production of Hot Mikado, playing from Sept 22 to Oct 1 at The Independent Theatre, North Sydney. Photo: Alan Roy. Read more at: http://bit.ly/2vrm1fT  Kaleigh Wilkie-Smith, Sasha-Lee Saunders and Jade Montalvo as Effie, Deena and Lorrell in Rockdale Musical Society’s production of Dreamgirls at Rockdale Town Hall from Sept 8 - 17. Photo: Chloe Snaith.

Read more on the Stage Whispers website: http://bit.ly/2vrrwuL

www.stagewhispers.com.au Stage Whispers 51

On Stage A.C.T. The History Boys by Alan Bennett. Everyman Theatre. Sep 1 - 16. The Courtyard Studio.

(02) 6275 2700.

Landscape With Monsters.

Circa. Sep 6 - 9. The Playhouse, Canberra Theatre Centre. (02) 6275 2700.

Horrible Harriet. A play by Maryam Master adapted from the books by Leigh Hobbs. CDP Productions. Sep 6 - 10. The Q, Queanbeyan Performing Arts Centre. (02) 6285 6290.

The Wharf Revue - The Patriotic Rag by Jonathan Biggins, Drew Forsythe and Phillip Scott.

Sydney Theatre Company. Sep 12 - 23. The Playhouse, Canberra Theatre Centre. (02) 6275 2700.

Summer of the Seventeenth Doll

by Ray Lawler. Pigeonhole Theatre. Sep 20 - 30. The Q, Queanbeyan Performing Arts Centre. 02 62856290.

52 Stage Whispers

A.C.T. & New South Wales

Romeo and Juliet. Russian National Ballet Theatre. Sep 26 and 27. Canberra Theatre. (02) 6275 2700.

The Arrival. Based on the book

by Shaun Tan. Sep 27 - 30.

Spare Parts Puppet Theatre. The Street Theatre. (02) 6247 1223.

Forever Crazy. Crazy Horse Paris.

Oct 4 - 7. Canberra Theatre.

(02) 6275 2700.

Room on the Broom. From the book by Julia Donaldson & Axel Scheffler. Oct 5 - 7. The Playhouse, Canberra Theatre Centre. (02) 6275 2700.

The Merchant of Venice by William Shakespeare. Bell Shakespeare. The Playhouse, Canberra Theatre Centre. Oct 13 - 21. (02) 6275 2700.

From Broadway to Ballroom. HIT Productions. Oct 26 - 28. The Q, Queanbeyan Performing Arts Centre. (02) 6285 6290.

Boys Will Be Boys by Melissa Bubnic. Oct 27 - Nov 11. The Street Theatre. (02) 6247 1223.

Wogs at Work by Nick Giannopoulos. Oct 28 & 29.

Canberra Theatre. (02) 6275 2700.

New South Wales Shady Business by Robin Hawdon. Arts Theatre Cronulla.

Until Sep 9. Arts Theatre, Cronulla. (02) 6523 2779.

After The Dance by Terence Rattigan. New Theatre. Until Sep 9. http://newtheatre.org.au MELBA - A New Musical. Book and lyrics by Nicholas Christo.

Music by Johannes Luebbers.

Adapted from the book Marvelous Melba by Ann Blainey. Hayes Theatre Co and New Musicals Australia. Until Sep 9. The Hayes Theatre. www.hayestheatre.com.au 4:48 Psychosis by Sarah Kane.

Old Fitz Theatre. Until Sep 9. www.oldfitztheatre.com Lip Service by John Misto.

Ensemble Theatre. Until Sep 30.

World Premiere. (02) 9929 0644.

The Father by Florian Zeller,
 translated by Christopher Hampton. A Sydney Theatre Company and Melbourne Theatre Company production.

Until Oct 21. Wharf 1. (02) 9250 1777.

My Fair Lady by Lerner and Loewe. Opera Australia and John Frost. Ongoing. Capitol Theatre, Sydney. 1300 558 878.

Inherit The Wind by J Lawrence & R E Lee. Newcastle Theatre Company. Until Sep 9.

Newcastle Theatre Company, Lambton. (02) 4952 4958 (36pm Monday - Friday).

Sydney Fringe Festival. Sep 1 30. www.sydneyfringe.com The Vagina Monologues by Eve Ensler. Pigs Fly Productions Inc. Sep 1 - 9. Mittagong Playhouse.

Age restriction: 16 and over. 0474 857 845.

Figaro by Charles Morey after Beaumarchais. Genesian Theatre. Sep 2 - Oct 14. 1300 237 217.

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

On Stage Feathered and Fierce. Theatrical dance show at Sydney Fringe Festival 2017. Sep 5 - 9. HPG Festival Hub Stage One, Alexandria. www.sydneyfringe.com Undertaking. Directed, cowritten and produced by Duncan Maurice with Sharon Zeeman. Mongrel Mouth / Sydney Fringe. Sep 6 - 30.

Sydney Fringe HPG Festival Hub, 225 Euston Rd, Alexandria. www.mongrelmouth.com Heathers The Musical by Laurence O’Keefe and Kevin Murphy. WEA Hunter Academy of Performing Arts. Sept 7 - 9.

Civic Playhouse, Newcastle. (02) 4929 1977.

A Letter From The General by Maurice McLoughlin. Hunters Hill Theatre. Sep 8 - 17. Now performing at Hunters Hill Town Hall. (02) 9879 7765.

Dreamgirls. Book & Lyrics by Tom Eyer, Music by Henry Krieger (Musical). Rockdale Musical Society. Sep 8 - 17.

Rockdale Town Hall. 0423 566 393 between 3pm & 8 pm.

Sydney Comedy Festival Showcase. Century Artists. Sep 8. Civic Theatre, Newcastle. (02) 4929 1977.

The Marvellous Wonderettes by Roger Bean. Ballina Players. Sep 8 - 24. Players Theatre, Ballina.

Just Funkin’ Music (02) 6686 2440.

City of Newcastle Drama Awards 2017 Theatre Summit.

CONDA Inc. Sept 9. St Phillip’s Christian College, Waratah (Newcastle). www.conda.com.au Dinner by Moira Buffini. Sydney Theatre Company. Sep 11 - Oct 28. Drama Theatre, Sydney Opera House. (02) 9250 1777.

Cirque Africa. Presented by Papa Africa, Winston Ruddle. Sept 11. Civic Theatre, Newcastle.

(02) 4929 1977.

The Night Alive by Conor McPherson. O’Punskys in association with Red Line Productions. Sep 13 - Oct 14.

Old Fitz Theatre. www.oldfitztheatre.com Deathtrap by Ira Levin. Exit Game Productions / Sydney Fringe. Sep 13 - 16. King Street Theatre, Newtown. www.kingstreettheatre.com.au Helly’s Magic Cup by Rosalba Clemente. Maitland Upstage Youth Theatre. Sept 13 - 16.

Upstage Studios, Maitland. www.upstageyouththeatre.com.au Romeo and Juliet. Ballet with music by Prokofiev. Russian National Ballet Theatre. Sept 13.

Civic Theatre, Newcastle. (02) 4929 1977.

Hello, Dolly! Book by Michael Stewart. Music and Lyrics by Jerry Herman. Based on the play “The Matchmaker” by Thornton Wilder. Miranda Musical Society. Sep 13 - 17. Sutherland Entertainment Centre. (02) 8814 5827.

Heathers The Musical by Laurence O’Keefe and Kevin Murphy. Penrith Musical Comedy Company. Sep 15 - 23.

Joan Sutherland Performing Arts Centre, Penrith. (02) 4723 7600.

Urinetown The Musical by Mark Hollmann and Greg Kotis.

Mosman Musical Society. Sep 15 - 25. Zenith Theatre, Chatswood. www.mosmanmusicalsociety.com.au In Real Life by Julian Larnach.

Darlinghurst Theatre. Sep 15 Oct 15. Eternity Playhouse. (02) 8356 9987.

The Things I Could Never Tell Stephen by Jye Bryant. A New Australian Musical. Sydney Fringe. Sep 15 - 18. New Theatre. newtheatre.org.au Ghosts by Henrik Ibsen. Belvoir Upstairs. Sep 16 - Oct 22. (02) 8355 9341.

Trevor Ashley in Barbra and Me. Ensemble Theatre. Sep 17 to Oct 15. (02) 9929 0644.

The Diary of Anne Frank by Frances Goodrich and Albert Hackett. Maitland Repertory Theatre. Sep 20 - Oct 7. (02) 4931 2800

New South Wales The Accidental Death of an Anarchist by Dario Fo. Two Tall Theatre. Sep 21 - 23. Civic Playhouse, Newcastle. (02) 4929 1977.

One Flew Over The Cuckoo’s Nest by Dale Wasserman. Roo Theatre Company. Sep 22 - 30.

Roo Theatre, Shellharbour. www.roo-theatre.com.au Hot Mikado by Gilbert and Sullivan, adapted by David H. Bell and Rob Bowman.

Chatswood Musical Society. Sep 22 - 30. The Independent Theatre, North Sydney. www.chatswoodmusicalsociety.org Dr Dolittle. Book, music and lyrics by Leslie Bricusse, based on stories by Hugh Lofting.

Maitland Musical Society. Sept 22 - Oct 1. Maitland Pro Cathedral. Oct 7 - 8, James Theatre, Dungog. trybooking.com/295186 Ladies in Lavender by Shaun McKenna, adapted from Charles Dance’s screenplay.

Castle Hill Players. Sep 22 - Oct 14. Pavilion Theatre, Doran Drive, Castle Hill. (02) 9634 2929.

Gudirr Gudirr. Solo dance and video work by Dalisa Pigram.

Marrugeku. Sept 22 - 23. Civic Theatre, Newcastle. (02) 4929 1977.

G2K Rodgers and Hammerstein’s Cinderella.

Music by Richard Rodgers, book and lyrics by Oscar Hammerstein II. From the Getting to Know Musicals for young performers.

Young People’s Theatre. Sep 25 - Oct 28. YPT Theatre, Hamilton (Newcastle). (02) 4961 4895.

The Bookbinder. By Ralph McCubbin Howell, based on a story by Ralph McCubbin Howell & Hannah Smith. Belvoir / A Trick of the Light. Sep 26 - Oct 8. Belvoir Downstairs Theatre.

(02) 8355 9341.

The Winter’s Tale by William Shakespeare. Secret House. Sep 27 - Oct 7. The Depot Theatre. thedepottheatre.com Ghost Jam! By Sean Murphy and Sophie Unsen. Mama Dojo /

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

Sydney Fringe. Sep 27 - 29. Red Dwarf, Redfern. http://bit.ly/2vm2Vrh This is Not Art Festival 2017.

Theatre, writing, music and art festival, for young participants.

Sep 28 - Oct 1. Works staged in 20 Newcastle venues. www.fb.me/TINAFestival The Anniversary by Bill MacIlwraith. Elanora Players.

Sep 29 - Oct 7. Elanora Community Centre, Elanora Heights. (02) 9979 9694 The Pirates of Penzance by Gilbert and Sullivan. Gilbert & Sullivan Opera Sydney. Sep 17, Anita’s Theatre, Thirroul; Sep 23, Soldiers Memorial Hall, Bundanoon; Sep 29 - Oct 8, Smith Auditorium Lyric Theatre, Shore School, William Street, North Sydney. www.gsosydney.com.au Birldand by Simon Stephens.

New Theatre. Oct 3 - Nov 4. newtheatre.org.au Room on the Broom. Adapted from the book by Julia Donaldson and Axel Scheffler.

CDP Kids and Tall Stories. Oct 3.

Cessnock Performing Arts Centre. (02) 4993 4266.

Calendar Girls by Tim Firth.

Pymble Players. Oct 4 - 28.

Pymble Players Theatre, Pymble.

(02) 9144 1523.

A Festival of Russian Ballet.

Dances from ballets including Don Quixote and Bolero. The Imperial Russian Ballet Company. Oct 4. Civic Theatre, Newcastle. (02) 4929 1977.

Glorious! By Peter Quilter.

Christine Harris and HIT Productions. Sep 5 - 9. Riverside Theatres Parramatta. www.riversideparramatta.com.au or (02) 8839 3399.

Proof by David Auburn.

Armidale Drama and Musical Society. Oct 6 - 14. The Armidale School’s Hoskins Centre. www.adms.org.au Piano Lessons. Adapted by pianist Anna Goldsworthy from her memoir and featuring her.

Metro Arts and QPAC. Oct 6 - 7.

Stage Whispers 53

On Stage Civic Theatre, Newcastle. (02) 4929 1977.

Buyer and Cellar by Jonathan Tolins. Ensemble Theatre. From Oct 6. (02) 9929 0644.

The Merchant of Venice by William Shakespeare. Bell Shakespeare. Joan Sutherland Performing Arts Centre. Oct 6 & 7. (02) 4723 7600.

Song Contest: The Almost Eurovision Experience. Script by Glynn Nicholas and Bev Killick. Songs from the world by arrangement with David Spicer Productions. Muswellbrook Amateur Theatrical Society Inc. Oct 7 - 21. Atherstone Room, Upper Hunter Conservatorium of Music, Muswellbrook. www.mats.org.au The Vicar of Dibley. Adapted by Ian Gower and Paul Carpenter from the TV series by Richard Curtis and Paul Mayhew-Archer.

DAPA Theatre. Oct 7 - 21. DAPA Theatre, Hamilton (Newcastle).

0416 252 446.

Love’s Labour’s Lost by William Shakespeare. Newcastle Theatre Company. Oct 7 - 21. Newcastle Theatre Company, Lambton.

(02) 4952 4958 (3-6pm Monday - Friday).

Home. Look through poetry, myths, songs and interviews at the place called home. Tantrum Youth Arts Trajectory Ensemble.

54 Stage Whispers

New South Wales

Oct 9 - 15. Civic Playhouse, Newcastle. (02) 4929 1977.

What Rhymes with Cars and Girls by Aidan Fennessy and Tim Rogers. Melbourne Theatre Company. Oct 11-14. Riverside Theatre, Parramatta. www.riversideparramatta.com.au or (02) 8839 3399.

Miracle City by Nick Enright and Max Lambert. Sydney Opera House and The Theatre Division.

Oct 12 - 29. Studio, Sydney Opera House. (02) 9250 7777.

Catch Me If You Can. Book by Terrance McNally. Lyrics by Marc Shaiman. Music by Scott Whittman and Marc Shaiman.

The Regals Musical Society. Oct 13 - 21. Rockdale Town Hall. www.theregals.com.au Chicago. Music by John Kander, Lyrics by Fred Ebb, Book by Fred Ebb & Bob Fosse. Willoughby Theatre Company. Oct 13 - 22.

The Concourse Theatre, Chatswood. www.willoughbytheatreco.com.au The Addams Family. Music and lyrics by Andrew Lippa and a book by Marshall Brickman and Rick Elice. Dural Musical Society.

Oct 13 - 28. Soldiers Memorial Hall, Dural. (02) 8960 8895.

Lend Me a Tenor by Ken Ludwig. Campbelltown Theatre Group. Oct 13 - 28. Town Hall

Theatre, Campbelltown. (02) 4628 5287.

The Kitchen Sink by Tom Wells.

Ensemble Theatre. From Oct 14.

(02) 9929 0644.

A View from the Bridge by Arthur Miller. Old Fitz Theatre.

Oct 18 - Nov 18. www.oldfitztheatre.com Cabaret in the Glen. Oct 18 22. Glen Street Theatre, Belrose. www.glenstreet.com.au or (02) 9975 1455.

The Big Meal by Dan LeFranc.

The Depot Theatre. Oct 18 Nov 4. The Depot Theatre. thedepottheatre.com The Red Tree by Hilary Bell and Greta Gertler Gold, based on the book by Shaun Tan. National Theatre of Parramatta.

Oct 19 - 28. (02) 8839 3399. www.riversideparramatta.com.au Classical Heroes & The Art of Seduction. Love and romance shown through music and song

by Teddy Tahu-Rhodes and Jane Rutter. Cessnock Performing

Arts Centre. Oct 19. (02) 4993 4266.

Chicago. Music by John Kander, Lyrics by Fred Ebb, Book by Fred Ebb & Bob Fosse. Engadine Musical Society. Oct 20 - 29.

Engadine Community Centre.

1300 616 063.

Blue Love. Poetic and satirical take on the clichés of pop culture and romance. Shaun Parker & Company. Oct 20 - 21.

Civic Theatre, Newcastle. (02) 4929 1977.

Chicago. Music by John Kander, lyrics by Fred Ebb, book by Fred Ebb & Bob Fosse. Gosford Musical Society. Oct 20 - Nov 4.

Laycock Street Community Theatre, North Gosford. (02) 4323 3233.

Rent. Book, music and lyrics by Jonathan Larson. Hunter Drama and Stoddart Entertainment.

Oct 20 - Nov 4. Civic Playhouse, Newcastle. (02) 4929 1977.

A New Brain. Music and lyrics

by William Finn and book by

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

On Stage Finn and James Lapine. NUCMS (Normanhurst Uniting Church Musical Society). Oct 20 - Nov 4. Normanhurst Uniting Church. www.nucms.org The Little Mermaid by Doug Wright and Alan Menken. Blue Mountains Musical Society. Oct 21 - Nov 5. Blue Mountains Theatre, Springwood. (02) 4723 5050.

Madama Butterfly by Puccini.

Opera Australia. Oct 24 - Nov 4.

Capitol Theatre, Sydney. 1300 558 878.

The Wharf Revue 2017. Written & created by Jonathan Biggins, Drew Forsythe and Phillip Scott.

Sydney Theatre Company. Oct 25 - Dec 30. Wharf 1. (02) 9250 1777.

Atlantis by Lally Katz. Belvoir.

Oct 28 - Nov 26. Belvoir Upstairs Theatre. (02) 8355 9341.

Essgee Pirates of Penzance by Gilbert & Sullivan. Orange Theatre Co. Oct 27 - Nov 4.

Orange Civic Theatre, Orange.

(02) 6393 8111.

Boeing Boeing by Marc Camoletti, translated by Beverley Cross. The Guild Theatre. Oct 27 - Nov 25. The Guild Theatre, Rockdale. (02) 9521 6358.

Wait Until Dark by Frederick Knott, adapted by Jeffrey Hatcher. Arts Theatre Cronulla.

Oct 27 - Dec 2. (02) 6523 2779.

Annie. Music by Charles Strouse. Lyrics by Martin Charnin. Book by Thomas Meehan. Tamworth Musical Society. Oct 27 - Nov 11.

Capitol Theatre, Tamworth.

The Anniversary by Bill MacIlwraith. Woy Woy Little Theatre. Oct 28 - Nov 12.

Peninsula Theatre, Woy Woy. (03) 4344 4737.

Bloody Murder by Ed Sala.

Genesian Theatre, Sydney. Oct 28 - Dec 2. 1300 237 217.

Queensland Kinky Boots. Book by Harvey Fierstein. Music and Lyrics by

New South Wales & Queensland Cyndi Lauper. Based on the motion picture Kinky Boots, written by Geoff Deane and Tim Firth. Michael Cassell Group.

Lyric Theatre, QPAC. Until Oct 22. 136 246.

Honour by Joanna MurraySmith. Villanova Players. Ft Barrell Auditorium, Yeronga.

Until Sep 10. (07) 3899 9962.

The Boy From Oz by Nick Enright and Peter Allen. Arts Theatre, Brisbane. Until Sep 9.

(07) 3369 2344. [title of show] by Jeff Bowen and Hunter Bell. Understudy Productions. Hayward Street Studios, Stafford. Until Sep 10. www.haywardstreet.com.au Sweeney Todd by Stephen Sondheim and Hugh Wheeler.

Toowoomba Chorale. Empire Theatre Toowoomba. Sep 1 - 3.

1300 655 299.

Lady Windermere’s Fan by Oscar Wilde. Gold Coast Little Theatre, Southport. Sep 2 - 17. (07) 5532 2096.

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

Les Misérables. Music by Claude -Michel Schönberg. Lyrics by Herbert Kretzmer. Original French text by Alain Boublil and Jean-Marc Natel. Ipswich Musical Theatre, Ipswich Civic Centre. Sep 8 - 17. (07) 3810 6100.

The 39 Steps by Patrick Barlow.

Sunnybank Theatre Group. Sep 8 - 23. (07) 3345 3964.

Jesus Christ Superstar by Andrew Lloyd Webber and Tim Rice. Mackay Musical Comedy Players, Mackay. Sep 8 - 9. www.mackaytix.com.au Cabaret De Paris. M2 Production. QPAC Concert Hall.

Sep 9. 136 246.

The Little Mermaid by Alan Menken, Howard Ashman and Glenn Slater. Arts Theatre, Brisbane. Sep 9 - Oct 14. (07) 3369 2344.

Good Grief by Keith Waterhouse. Centenary Theatre Group, Chelmer. Sep 9 - 30.

0435 591 720.

Stage Whispers 55

On Stage Per Te by Danielle Finzi Pasca.

Brisbane Festival / Compagnia Finzi Pasca (Switzerland).

Playhouse, QPAC. Sep 9 - 16.

136 246.

Laser Beak Man by David Morton, Nicholas Paine, Tim Sharp and Sam Cromack. La Boite/Dead Puppet Society/ Brisbane Festival. Roundhouse Theatre, Kelvin Grove. Sep 9 30. (07) 3007 8600.

I Remember You by Gai Byrne.

Javeenbah Theatre, Nerang. Sep 15 - 30. (07) 5596 0300.

La Fille Mal Gardee. John Lanchberry. Queensland Ballet.

Empire Theatre, Toowoomba.

Sep 15 - 16. 1300 655 299.

An Octoroon by Branden Jacobs -Jenkins. Queensland Theatre.

Bille Brown Studio. Sep 16 - Oct 8. 1800 355 528.

Take A Chance On Me by Roger Hall. Spotlight Theatrical Company, Benowa. Sep 16 Oct 1. (07) 5539 4255.

56 Stage Whispers

Queensland

Lords and Ladies by Terry Pratchett. Arts Theatre, Brisbane. Sep 16 - Oct 21. (07) 3369 2344.

Cocktails with Noel and Gertie

by Kate Peters. Top Hat Productions. Spotlight Theatre, Benowa. Sep 17 - Oct 3. (07) 5539 4255.

Carnival Hour Plays - A Million Civilians by Mark Macrossan and In High Places by Bruce Clark.

Toowoomba Repertory Theatre, Toowoomba. Sep 18 - 23. (07) 4632 8058.

Terror by Ferdinand Von Schirach. Brisbane Festival.

Playhouse, QPAC. Sep 19 - 23.

136 246.

Stage Directions by Aaron Evans. Ipswich Little Theatre.

Sep 20 - Oct 7. (07) 3812 2389.

La Cage Aux Folles. Music and Lyrics by Jerry Herman. Book by Harvey Fierstein. Nash Theatre, New Farm. Sep 22 - Oct 14.

(07) 3379 4775.

The Producers by Mel Brooks and Thomas Meehan.

Savoyards. Iona Performing Arts Centre, Wynnum. Sep 23 - Oct 7. (07) 3893 4321.

In The Spotlight. Musical Greats In Concert. Toowoomba Philharmonic Society.

Philharmonic Performance Centre, Toowoomba. Sep 23 24. (07) 4636 3072 Dick Wittington And His Cat by Graham Barraclough. Tweed Theatre Company. Tweed Heads Civic Centre. Sep 23 - Oct 8.

1800 674 414.

Hansel & Gretel by Engelbert Humperdinck. Opera Q / Shake & Stir. Opera Q Studio. Sep 27 30. (07) 3735 3030.

Under Siege. Yang Liping Contemporary Dance / Brisbane Festival / Philip Bacon Galleries.

Playhouse, QPAC. Sep 27 - 30.

136 246.

Monty Python’s Spamalot by John Du Prez and Eric Idle.

Prima. Redcliffe Cultural Centre.

Sep 29 - Oct 8. (07) 3283 0407.

Diamonds Are For Trevor by Trevor Ashley. Brisbane Festival.

Concert Hall, QPAC. Sep 29.

136 246.

A Little Murder Never Hurt Anyone by Ron Bernas. BATS Theatre, Buderim. Sep 29 - Oct 7. (07) 5445 2525.

The 39 Steps by Patrick Barlow.

Mounsetrap Theatre, Redcliffe.

Sep 29 - Oct 14. (07) 3888 3493.

Michael Ball and Alfie Boe Together. Live Nation. Concert Hall, QPAC. Oct 5. 136 246.

Last Cab To Darwin by Reg Cribb. Cairns Little Theatre.

Rondo Theatre, Cairns. Oct 6 14. 1300 855 835.

Aled Jones One Voice Live In Concert. Live Nation. Concert Hall, QPAC. Oct 6. 136 246.

Broadway And Beyond.

Queensland Pops. Concert Hall, QPAC, Oct 7, 136 246; Empire

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

On Stage

Queensland & Victoria

One of Broadway’s leading musical theatre and cabaret performers, Liz Callaway, will make her Queensland debut with her intimate cabaret show An Evening with Liz Callaway in QPAC’s newly refurbished Cremorne Theatre on Friday 13 and Saturday 14 October. In the lead up to her concerts, she will mentor third year Bachelor of Musical Theatre students from Queensland Conservatorium Griffith University in an intensive week of masterclasses and workshops, culminating in a special performance of cabaret and musical theatre - The Sky’s the Limit: Student Cabaret Showcase, in the Cremorne Theatre on Thursday 12 October. Two students will also be selected to be guest performers during An Evening with Liz Callaway.

Theatre Toowoomba, Oct 8, 1300 655 299.

One The Bear by Candy B and Busty Beatz. Roundhouse Theatre, Kelvin Grove. Oct 10 21. (07) 3007 8600.

Little Shop of Horrors by Alan Menken and Howard Ashman.

North Queensland Opera & Music Theatre, Townsville. Oct 11 - 14. 0448 432 873.

Heathers The Musical by Laurence O’Keefe and Kevin Murphy. Phoenix Ensemble, Beenleigh. Oct 13 - Nov 4. (07) 3103 1546.

An Evening With Liz Callaway.

Cremorne Theatre, QPAC. Oct 13 & 14. 136 246.

Shakespeare Festival. Noosa Arts Theatre. Oct 13 - 15. (07) 5449 9343.

Festival of Russian Ballet.

Russian Ballet Ltd. Concert Hall, QPAC. Oct 19 - 20. 136 246.

Robin Hood by Arne Christiansen and Ole H. Kittleson. Arts Theatre, Brisbane.

Oct 21 - Dec 2. (07) 3369 2344.

Peter Pan by Trey McIntyre.

Queensland Ballet. Playhouse, QPAC. Oct 25 - Nov 4. 136 246.

Mark Vincent Sings Mario Lanza. Lunchbox Productions.

Concert Hall, QPAC. Oct 29.

136 246.

Victoria Aladdin. Music by Alan Menken.

Book by Chad Beguelin. Lyrics

by Howard Ashman, Tim Rice and Chad Beguelin. Disney Theatrical Productions. Her Majesty’s Theatre, Melbourne.

Ongoing. 13 28 49.

The Bodyguard. Based on the Warner Bros. film by Lawrence Kasdan. Book: Alexander Dinelaris. John Frost, Michael Harrison & David Ian Production. Regent Theatre, Melbourne. 136 100.

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

Ongoing. Princess Theatre, Melbourne.

BookOfMormonMusical.com.au Di and Viv and Rose by Amelia Bullmore. Melbourne Theatre Company. Until Sep 17.

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

The Full Monty. Book by Terrence McNally. Music & Lyrics

by David Yazbek. The Mount Players. Until Sep 10.

Mountview Theatre. (03) 5426 1892.

The Way Out by Josephine Collins. Red Stitch Actors Theatre. Until Sep 24. Rear, 2 Chapel Street, St Kilda East. (03) 9533 8083.

Brief Encounter / We Were Dancing by Noël Coward.

Malvern Theatre Company Inc. Until Sep 9. 1300 131 552.

Caravan by Donald MacDonald.

MOARTZ. Sep 1 - 9. Monash Hall, Yallourn North. 0438 579 987 or (03) 5127 6514.

Angels in America by Tony Kushner. Cameron Lukey and Dirty Pretty Theatre in association with fortyfivedownstairs. Sep 1 - 17.

Fortyfivedownstairs. (03) 9662 9966.

The Mercy Seat by Neil La Bute.

Tangled Web Theatre Productions. Sep 1 - 9.

Gasworks Studio Theatre, Albert Park. (03) 9699 3253.

It’s A Wonderful Life - A Live Radio Play by Joe Landry. Eltham Little Theatre. Sep 1 - 16. 0411 713 095.

Equally Divided by Ronald Harwood. Mordialloc Theatre

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

Company. Sep 1 - 16. Shirley Burke Theatre, Parkdale. (03) 9587 5141.

Black T-Shirt Collection by Inua Ellems. Arts Centre Melbourne in association with Fuel. Sep 5 10. Fairfax Studio, Arts Centre Melbourne. 1300 182 183.

Big Heart by Patricia Cornelius.

Theatre Works / Dee & Cornelius. Sep 6 - 24. Theatre Works. (03) 9534 3388.

Miss W Treads by Jane Woolard.

La Mama Theatre. Sep 6 - 17.

(03) 9347 6142.

Anno Zombie by Bridgette Burton. Sep 6 - 16. Chapel off Chapel. (03) 8290 7000.

The Taxithi Project - George & Haris. The Butterfly Club. Sep 6 10. thebutterflyclub.com Auditions: The Callback. The Butterfly Club. Sep 7 - 10. thebutterflyclub.com Godot: The Wait is Over by Ian Robinson. Cicero’s Circle Theatre Company. Sep 7 - 17. La Mama Courthouse. (03) 9347 6142.

The Seafarer by Conor McPherson. Williamstown Little Theatre. Sep 7 - 23. (03) 9885 9678.

Stage Whispers 57

On Stage Bennelong. Choreographed by Stephen Page. Bangarra. Sep 7 16. Playhouse, Arts Centre Melbourne. 1300 182 183.

Every trick in the book! Le Système Ribadier by Georges Feydeau. Melbourne French Theatre Inc. Sep 7 - 16. La Maison De Maitre Building, Carlton. (03) 9349 2250.

The Club by David Williamson.

Heidelberg Theatre Co. Sep 8 23. (03) 9457 4117.

Calendar Girls by Tim Firth.

Shepparton Arts Theatre Group.

Sep 8 & 9. WestSide PAC Exit Laughing by Paul Eliot.

Geelong Repertory Theatre Company. Sep 9 - 23. (03) 5225 1200.

Alice’s Adventures in Wonderland. Choreographed by Christopher Wheeldon.

Australian Ballet. Sep 12 - 30.

State Theatre, Arts Centre Melbourne. 1300 182 183.

Pike St. Written and performed

by Nilaja Sun. Sep 12 - 17.

58 Stage Whispers

Victoria

Fairfax Studio, Arts Centre Melbourne. 1300 182 183.

Twigs That Never Took. The Butterfly Club. Sep 12 - 17. thebutterflyclub.com Can You Handle This? I Don’t Think You Can Handle This. The Butterfly Club. Sep 12 - 17. thebutterflyclub.com Bed Reckoning by Darwent and Gray. The Butterfly Club. Sep 12 - 17. thebutterflyclub.com I’m Fine. The Butterfly Club. Sep 12 - 17. thebutterflyclub.com Diary of a Power Pussy. The Butterfly Club. Sep 12 - 17. thebutterflyclub.com Hi, Can I Help You? A Comedy Cabaret of Retail and Loneliness

by Sophie Banister. The Butterfly Club. Sep 13 - 18. thebutterflyclub.com One of the Good Ones. Cope St Collective. Sep 13 - 24.

Mechanics Institute Theatre, Brunswick. (03) 9660 9666.

Melbourne Fringe. Sep 14 - Oct 1. melbournefringe.com.au Baby with the Bathwater by Christopher Durang. Essendon Theatre Company. Sep 14 - 23.

0422 029 483.

Too Soon, Too Now by Bridget Sweeney. Melbourne Fringe.

Sep 14 - 19. Errol’s Cafe, 69-71 Errol St, North Melbourne. (03) 9660 9666.

Sweet Charity. Book by Neil Simon, music by Cy Coleman and lyrics by Dorothy Fields.

OCPAC. Sep 15 - 23. Memorial Great Hall, Kew. www.ocpac.com.au Ode to Men by Emma Mary Hall. Melbourne Fringe. Sep 15 22. Fringe Hub: Arts House Warehouse, North Melbourne.

(03) 9660 9666.

Invasion of the Body Snatchers

by Peter Cox. Melbourne Fringe.

Sep 15 - 30. Fringe Hub: Arts House - Studio 2, North Melbourne. (03) 9660 9666.

Black Rider: The Casting of the Magic Bullets by Tom Waits and William S. Burroughs. Victorian Opera and Malthouse Theatre.

Sep 15 - Oct 8. Merlyn Theatre.

(03) 9685 5111.

The Sin-Sational Rita & Mae. The Butterfly Club. Sep 18 - 24. thebutterflyclub.com Estrella Wing, Showgirl by Margo Tanjutco. The Butterfly Club. Sep 18 - 24. thebutterflyclub.com She Wolf. The Butterfly Club.

Sep 18 - 24. thebutterflyclub.com Ugly Duckling. The Butterfly Club. Sep 18 - 24. thebutterflyclub.com Elizabeth by Lisa Crawley and Rochelle Bright.

The Butterfly Club. Sep 18 - 24. thebutterflyclub.com A Showgirl: Deconstructed. The Butterfly Club. Sep 18 - 24. thebutterflyclub.com Vessel. Outer Urban Projects.

Sep 20 - 23. Playhouse, Arts

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

On Stage Centre Melbourne. 1300 182 183.

Pancake Opus 101 by Sandra Fiona Long. Sep 20 - 24. La Mama Courthouse. (03) 9347 6142.

Madame Nightshade’s Poison Garden by Anna Lehmann Thomson. La Mama Theatre.

Sep 21 - Oct 1. (03) 9347 6142.

Self. Directed and choreographed by Michael Ralph. Starring Rohan Browne.

Michael Ralph in association with Hucklebuck Productions and Melbourne Fringe. Sep 21 Oct 1. Chapel off Chapel. (03) 8290 7000.

Much Ado About Nothing by William Shakespeare. Sep 21 Nov 12. Pop-up Globe, Sidney Myer Music Bowl. 1300 136 166.

Henry V by William Shakespeare. Sep 23 - Nov 12.

Pop-up Globe, Sidney Myer Music Bowl. 1300 136 166.

Hay Fever by Noel Coward.

Melbourne Theatre Company.

Sep 23 - Oct 28. Southbank Theatre, The Sumner. (03) 8688 0800.

The Vagina Monologues by Eve Ensler. Deafferent Theatre. Sep 23 - 30. Fringe Hub: Arts House - Studio 1, North Melbourne.

(03) 9660 9666.

As You Like It by William Shakespeare. Sep 24 - Nov 12.

Pop-up Globe, Sidney Myer Music Bowl. 1300 136 166.

Othello by William Shakespeare.

Sep 24 - Nov 12. Pop-up Globe, Sidney Myer Music Bowl. 1300 136 166.

Maybe This Time. The Butterfly Club. Sep 25 - Oct 1. thebutterflyclub.com Wanda and Mel. The Butterfly Club. Sep 25 - Oct 1. thebutterflyclub.com Personal Reflection: Remembering Prince by Tanya Di Vella. The Butterfly Club. Sep 25 - Oct 1. thebutterflyclub.com The Birth of the Unicorn Maid.

The Butterfly Club. Sep 25 - Oct 1. thebutterflyclub.com

Victoria

Marina Prior (pictured) and Simon Gleeson will star in the Melbourne Theatre Company’s production of Noël Coward’s Hay Fever, directed by Lee Lewis, at Southbank Theatre, The Sumner, from September 23 to October 28.

It’s Not Me, It’s Lou. The Butterfly Club. Sep 25 - Oct 1. thebutterflyclub.com Horrible Harriet by Mariam Master, adapted from the books

by Leigh Hobbs. CDP Kids. Sep 27 - 30. Playhouse, Arts Centre Melbourne. 1300 182 183.

Echo by Amber Hart and Christie Rohr. Sep 27 Oct 1. La Mama Courthouse.

(03) 9347 6142.

The Laramie Project by Moises Kaufman and members of The Tectonic Theatre Project.

Hartwell Players. Sep 28 - Oct 1.

Ashwood High School Performing Arts Centre. (03) 9513 9581 (message service).

Melbourne Festival. Oct 4 - 22. www.festival.melbourne/2017 Backbone. Gravity and Other Myths / Melbourne Festival. Oct 4 - 8. Playhouse, Arts Centre Melbourne. 1300 182 183.

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

Jules & Bec - The Music of Mateship and Madness by Juliarna Clark and Rebecca Mason. The Butterfly Club. Oct 4 - 8. thebutterflyclub.com Teacher. The Butterfly Club. Oct 4 - 8. thebutterflyclub.com Piaf and Aznavour: Songs From the Pavement by Hugo Chiarella. The Butterfly Club. Oct 4 - 8. thebutterflyclub.com All of My Friends Were There.

Theatre Works / The Guerilla Stage Whispers 59

On Stage Museum. Oct 5 - 11. Theatre Works. (03) 9534 3388.

Please Continue (Hamlet) by Yan Duyvendak and Roger Bernat.

Melbourne Festival. Oct 5 - 9.

Fairfax Studio, Arts Centre Melbourne. 1300 182 183.

Never the Sinner by John Logan.

The 1812 Theatre. Oct 5 - 28.

(03) 9758 3964.

Memphis by David Bryan and Joe DiPietro. Stage Art. Oct 5 22. Chapel off Chapel. (03) 8290 7000.

The Chairs by Eugene Ionesco.

La Mama Theatre. Oct 5 - 15.

(03) 9347 6142.

Thoroughly Modern Millie.

Music by Jeanine Tesori, lyrics by Dick Scanlan, and a book by Richard Morris and Scanlan.

Babirra Music Theatre. Oct 6 14. The Whitehorse Centre, Nunawading. www.babirra.org.au Michael Ball and Alfie Boe Together. Live Nation. Oct 7.

60 Stage Whispers

Victoria

Hamer Hall, Arts Centre Melbourne. 1300 182 183.

Shaken: Baritones Belting Bond.

The Butterfly Club. Oct 10 - 15. thebutterflyclub.com A Fine Romance: The Magic of Fred Astaire. Oct 10 - 15.

Chapel off Chapel. (03) 8290 7000.

All the Sex I’ve Ever Had. Mammalian Diving Reflex / Melbourne Festival. Oct 12 - 15.

Playhouse, Arts Centre Melbourne. 1300 182 183.

Cabaret Homicide. The Butterfly Club. Oct 11 - 15. thebutterflyclub.com Shout! The Legend of Johnny O’Keefe by John Michael Howson, David Mitchell & Mervyn Morrow. MLOC Productions. Oct 13 - 21. Shirley Burke Theatre, Parkdale. (03) 9551 7514.

Cactus Flower by Abe Burrows.

Encore Theatre Company Inc. Oct 13 - 28. Clayton

Community Centre. 1300 739 099.

Almost Maine by John Cariani.

Wyndham Theatre Co. Oct 13 & 14. Joy Bevan Theatre, Duncans Rd, Werribee.

Tree of Codes. Dancers from Paris Opera Ballet and Company Wayne McGregor. Melbourne Festival. Oct 17 - 21. State Theatre, Arts Centre Melbourne.

1300 182 183.

How to be Sexy. The Butterfly Club. Oct 17 - 22. thebutterflyclub.com An Evening with Sandra Shotlander. La Mama Theatre.

Oct 18 - 22. (03) 9347 6142.

Don’t Trust Me, I’m a Dentist.

The Butterfly Club. Oct 18 - 22. thebutterflyclub.com 7 Pleasures. Choreographer by Mette Ingvartsen. Melbourne Festival. Oct 18 - 21. Playhouse, Arts Centre Melbourne. 1300 182 183.

The Book of Exodus Part II by Aaron Orzeck and Adena

Jacobs. Theatre Works and Fraught Outfit. Oct 18 - 29.

Theatre Works. (03) 9534 3388 Small Acts of Love by Fiona Scarlett. The Butterfly Club. Oct 19 - 22. thebutterflyclub.com A Chorus Line. Music: Marvin Hamlisch. Lyrics: Edward Kleban. Book: James Kirkwood, Nicholas Dante. CLOC Musical Theatre. Oct 20 - 28. National Theatre, Melbourne. cloc.org.au Jekyll & Hyde - the musical.

Conceived for the stage by Steve Cuden and Frank Wildhorn.

Mansfield Musical & Dramatic Society (MMuDS). Oct 21 - Nov 3. Mansfield Performing Arts Centre. www.mmuds.org.au Asexual Healing. The Butterfly Club. Oct 24 - 29. thebutterflyclub.com Continue Without Saving? The Butterfly Club. Oct 25 - 29. thebutterflyclub.com The Pirates of Penzance by W.S. Gilbert and Arthur Sullivan. Oct 26 - 29. Gilbert & Sullivan

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

On Stage Opera Victoria. Darebin Arts & Entertainment Centre, Preston.

(03) 8470 8282 or gsov.org.au Reefer Madness by Kevin Murphy and Dan Studney. PEP Productions. Oct 26 - Nov 4.

Doncaster Playhouse. pepproductions.org.au Twentieth Century by Ben Hecht & Charles MacArthur, adapted

by Ken Ludwig. Malvern Theattre Company Inc. Oct 27 Nov 11. 1300 131 552.

Brigadoon. Book and lyrics by Alan Jay Lerner, and music by Frederick Loewe. The Production Company. Oct 28 - Nov 5. State Theatre, Arts Centre Melbourne.

1300 182 183.

Les Misérables. Music by Claude -Michel Schönberg. Lyrics by Herbert Kretzmer. Original French text by Alain Boublil and Jean-Marc Natel. Additional Material by James Fenton.

NOVA Music Theatre. Oct 28 Nov 12. The Whitehorse Centre, Nunawading. 1300 304 433.

Tasmania Educating Rita by Willy Russell.

Hobart Rep. Sep 1 - 16.

Playhouse Theatre, Hobart. (03) 6234 5998.

Bakersfield Mist by Stephen Sachs. The Tasmanian Theatre Company and Straightjacket Productions. Sep 5, Devonport Entertainment and Convention Centre; Sep 8 & 9, Theatre Royal, Hobart, (03) 6233 2299; Sep 12, Princess Theatre, Launceston, (03) 6323 3666.

The Season at Sarsparilla by Patrick White. Three River Theatre. Sep 20 - 24. Earl Arts Centre, Launceston. (03) 6323 3666.

One Man, Two Guvnors by Richard Bean, from Goldoni’s Servant of Two Masters. The Old Nick Theatre Company. Sep 22 30. Playhouse Theatre, Hobart.

(03) 6234 5998.

The Popular Mechanicals by Keith Robertson, William Shakespeare and Tony Taylor.

Victoria, Tasmania & W.A. State Theatre Company of South Australia. Oct 5 - 7. Theatre Royal, Hobart, (03) 6233 2299.

Papillon. Highwire Events and Entertainment. Oct 11 - 13.

Theatre Royal, Hobart, (03) 6233 2299.

A Festival of Russian Ballet.

Imperial Russian Ballet Company. Oct 12 & 13, Princess Theatre, Launceston, (03) 6323 3666; Oct 14 & 15, Theatre Royal, Hobart, (03) 6233 2299.

9 to 5 The Musical. Music by Dolly Parton. Lyrics and Book by Patricia Resnick. Burnie Musical Society. Oct 20 - Nov 4. Burnie Arts and Function Centre. (03) 6430 5850.

An Inconvenient Woman by Brian Peddie. Tasmanian Theatre Company. Oct 24 - Nov 4. Pop Up Theatre No. 9, Green Shed, Evans Street, Macquarie Point, Hobart. (03) 6234 5998.

Blood Brothers by Willy Russell.

Encore Theatre Company. Oct 27 - Nov 11. Earl Arts Centre, Launceston. (03) 6323 3666.

Western Australia Wife After Death by Eric Chappell. Serial Productions.

Until Sep 9. Comedy. Old Mill Theatre. 0475 895 701.

Tilt. Devised work. WAAAPA 3rd Year Performance Making Students. Until Sep 9. Two programs of new work. The Blue Room, Perth Cultural Centre. (08) 9370 6636.

Playin’ the Fool by various authors. Stirling Players. Until Sep 9. One act season of comedies. Stirling Theatre, Innaloo. (08) 9440 1040.

It’s My Party & I’ll Die If I Want To by Elizabeth Coleman.

Rockingham Theatre. Until Sep 9. Australian Comedy.

Rockingham Theatre - The Castle. www.rockinghamtheatre.com One Act Season by various authors. Darlington Theatre Players. Sep 1 - 9. Selection of short plays, Marloo Theatre, Greenmount. (08) 9255 1783.

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

Macbeth by William Shakespeare. Roleystone Theatre. Sep 1 - 9. Classic tragedy. Roleystone Theatre, Brookton Hwy, Roleystone. (08) 9367 5730. www.roleystonetheatre.com.au Stop Kiss by Diana Son. Melville Theatre. Sep 8 - 22. Sara and Callie are assaulted after their first kiss. Melville Theatre, Stock Rd, Palmyra. (08) 9330 4565 or www.meltheco.org.au Exceptional Us by Dylan Schifrin and David Campton. Stirling Players. Sep 12 - 14. Youth Plays. Stirling Theatre, Innaloo. www.stirlingplayers.com.au Putting on the Ritz. Mellen Events. Sep 14 - 16. Sand dance show featuring Rob Mills.

Riverside Theatre, Perth.

Ticketek 132 849. http://bit.ly/2xnjvHQ The Great Gatsby by F. Scott Fitzgerald. Choreographed by David Nixon OBE. West Australian Ballet. Sep 14 - 30.

Adaptation of classic literature.

His Majesty’s Theatre, Perth.

Ticketek 132 849. http://bit.ly/2xn4Vjv On a First Name Basis by Norm Foster. Harbour Theatre. Sep 15 - 24. Comedy. MoS Arts, Camelot, Mosman Park. (08) 9255 3336 or TAZtix.com.au Hills Festival of Theatre by various authors/ Darlington Theatre Players. Sep 15 - 17.

One act play competition.

Marloo Theatre, Greenmount.

(08) 9255 1783.

YouthFest. Sep 16 - 17. Youth arm of the State One Act Drama Festival. St Norbert College, Queens Park. www.ita.org.au Three One Act Plays by various authors. Garrick Theatre. Sep 16 - 19. Selection of short plays.

Garrick Theatre, Guildford. (08) 9378 1990.

First Date - The Musical by Austin Winsberg, Alan Zachary & Michael Weiner. Blak Yak Theatre. Sep 20 - Oct 9. Musical about dating. Shenton Park Community Centre. www.blakyak.com.au Stage Whispers 61

On Stage Les Misérables by Allain Boublil and Claude-Michel Schönberg.

Stray Cats Theatre Company.

Sep 21 - 24. Musical theatre classic. Mandurah Performing Arts Centre. www.manpac.com.au DramaFest. Sep 23 - 24. State One Act Drama Festival. St Norbert College, Queens Park. www.ita.org.au Storytime in the Hills.

Roleystone Theatre. Oct 4 - 6.

Theatre for children. (08) 9367 5730. www.roleystonetheatre.com.au Inventories of Bodies in Movement. Choreographed by Christine Frikier. LINK Dance Company in collaboration with Co3 Youth, DADAA and Tracksuit. Oct 5 - 7. Features over 80 dancers. Fremantle Arts Centre, FinFremantle. (08) 9432 9555. www.fac.org.au Carrie: The Musical by Lawrence D. Cohen, Michael Gore and Dean Pitchford. Phoenix Theatre

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Western Australia & South Australia

and Dark Psychic Productions.

Oct 6 - 21. Musical based on the cult movie. Phoenix Theatre, Memorial Hall, Hamilton Hill. www.phoenixtheatreinc.com.au The Nightwatchman by Daniel Keene. Old Mill Theatre. Oct 6 21. Family story directed by Siobhan O’Gara. Old Mill Theatre, South Perth. (08) 9367 8719.

The Glass Menagerie by Tenessee Williams. Garrick Theatre. Oct 11 - 22. Classic American drama. Garrick Theatre, Guildford. (08) 9378 1990.

I Am My Own Wife by Doug Wright. Black Swan State Theatre Centre. Oct 12 - 29.

Gay hero? Killer? Stasi Informant? Studio Underground, State Theatre Centre of Western Australia.

Ticketek 132 849. http:// bit.ly/2xn29La Pygmalion by George BernardShaw. Wanneroo Repertory

Club. Oct 12 - 21. Limelight Theatre. (08) 9571 8591 www.limelighttheatre.com The Threepenny Opera by Bertolt Brecht and Kurt Weill.

WAAAPA 3rd Year Acting Students. Oct 13 - 19. Mack the Knife is back in town. The Edith Spiegeltent, WAAPA, Edith Cowan University, Mt Lawley.

(08) 9370 6636 As You Like It by William Shakespeare. WAAAPA 2nd Year Acting Students. Oct 13 - 19.

Passionate possibility in the Forest of Arden. Enright Studio, WAAPA, Edith Cowan University, Mt Lawley. (08) 9370 6636.

The Impressario and Les Mamelles by Wofgang Amadeus Mozart and Francis Poulenc.

WAAAPA Classical Vocal Students. Oct 16 - 21. Double bill - short comic operas. Geoff Gibbs Theatre, WAAPA, Edith Cowan University, Mt Lawley.

(08) 9370 6636.

The Jungle Book. Adapted by Monica Flory, from the novel by Rudyard Kipling. Playlovers. Oct 20 - Nov 4. MoS Arts, Camelot, Mosman Park. www.playlovers.org.au Lucia di Lammermoor by Donizetti. The West Australian Opera. Oct 26 - Nov 4. Stars Emma Pearson. His Majesty’s Theatre, Perth. Ticketek 132 849. http://bit.ly/2wsHSHY South Australia BEEP by Katherine Fyffe.

Windmill Theatre. Until Sep 3.

The Space Theatre. www.bass.net.au/events/beep Our Boys by Jonathan Lewis.

Until Sep 9. Adelaide Repertory Company. The Arts Theatre. www.adelaiderep.com OzAsia Festival. Adelaide Festival Centre. Sep 21 - Oct 8. ozasiafestival.com.au The Clean House by Sarah Ruhl.

The Stirling Players. Sep 22 - Oct 7. Stirling Community Theatre. www.stirlingplayers.sct.org.au

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

On Stage Timon of Athens by William Shakespeare. Symposium Productions. Sep 28 - Oct 2. The Grandstand in Victoria Park/ Pakapakanthi. www.trybooking.com/306334 or at door.

Les Misérables. Music by Claude -Michel Schönberg. Lyrics by Herbert Kretzmer. Original French text by Alain Boublil and Jean-Marc Natel. Gilbert & Sullivan Society of SA. Sep 28 Oct 7. The Arts Theatre. www.gandssa.com.au Men Behaving Badly by Stephen Nye. Matt Byrne Media. Oct 321. Holden Street Theatres. www.mattbyrnemedia.com.au or (08) 8262 4906.

Big Bad Wolf by Matthew Whittet. Windmill Theatre. Oct 11 - 21. The Space. www.bass.net.au/events/big-bad-wolf Bye Bye Birdie. Music: Charles Strouse. Lyrics: Lee Adams.

Book: Michael Stewart. The Metropolitan Musical Theatre Company of SA. Oct 12 - 21.

The Arts Theatre. 0407 457 821. www.metmusicals.com.au Puberty Blues. Based on novel

by Kathy Lette and Gabrielle Carey. Deadset Theatre Company. Oct 25 - 28. Holden Street Theatres. www.holdenstreettheatres.com Northern Territory The Merchant of Venice by William Shakespeare. Bell Shakespeare. Sep 22. Playhouse Theatre, Darwin Entertainment Centre. www.yourcentre.com.au In Between Two by Joel Ma and James Mangohig. Presented by Artback NT and supported by Brown’s Mart Theatre. Sep 26 30. Brown’s Mart Theatre. www.brownsmart.com.au Sydney Comedy Festival Roadshow. Sep 30. Studio Theatre, Darwin Entertainment Centre. www.yourcentre.com.au Diary of a Wombat. Monkey Baa. Oct 19. Playhouse Theatre,

South Australia, N.T. & New Zealand

Darwin Entertainment Centre. www.yourcentre.com.au Chess The Musical In Concert.

Music by Benny Andersson and Bjorn Ulvaeus; Lyrics by Tim Rice. Darwin Chorale. Oct 28.

Playhouse Theatre, Darwin Entertainment Centre. www.yourcentre.com.au New Zealand Caging Skies by Desirée Gezentsvey. Circa Theatre, Wellington. Until Sep 9. (04) 801 7992.

Wonderland. Book and Lyrics by Kira Josephson, Music by Bruno Shirley. Stagecraft Theatre (Wellington). Until Sep 9. iTicket Social Climbers by Roger Hall.

Fine Thyme Theatre Company.

Until Sep 8.

Away by Michael Gow. Hagley Theatre Company. Sep 1 - 8.

The Open Stage, Christchurch.

Avenue Q. Music and Lyrics by Robert Lopez & Jeff Marx. Book

by Jeff Whitty. South Canterbury Drama League. Sep 1 - 16.

Playhouse Theatre, Timaru.

0508 iTICKET (0508 484 253).

Breaking The Code by Hugh Whitemore. Gaslight Theatre, Cambridge. Sep 2 - 16. 0800 BUY TIX (289 849).

The Wholehearted. Massive Company. Sep 5, Forum North, Whangarei, 0800 842 538; Sep 9 - 12, Aotea Centre, Auckland, 09-970 9700; Sep 13 - 15, Clarence Street Theatre, Hamilton, 0800 842 538; Sep 20 - 23, Hannah Playhouse, Wellington, 0508 iTICKET (484253); Oct 3 - 7, Papa Hou, Christchurch, 0508 iTICKET (484 -253); Oct 10 - 13, Fortune Theatre, Dunedin, 03 477 8323.

She Danced on a Friday - The Birth and Death of Margery Hopegood. Sep 6 - 9. The Meteor, Hamilton The Comedy of Errors by William Shakespeare. Detour Theatre, Tauranga. Sep 6 - 23.

0508 iTICKET (0508 484 253).

That Bloody Woman by Luke Di Somma and Gregory Cooper.

Sep 7 - 9, Clarence Street Theatre, Hamilton, Ticketek; Sep 13 - 16, Wellington Opera House, Ticketmaster; Oct 17, Napier Municipal Theatre, Ticketek.

The Pin-Up Boys by Mark Rayner. Waiheke Theatre Company. Sep 7 - 16. Artworks Community Theatre, Auckland.

The Kitchen Witches by Caroline Smith. Detour Theatre, Tauranga. Sep 7 - 22. 0508 484 253.

Anahera by Emma Kinane. Circa Theatre. Sep 8 - Oct 7. Circa One, Wellington. (04) 801 7992.

Sister Act: The Musical. Music

by Alan Menken, lyrics by Glenn Slater, book by Bill and Cheri Steinkellner and additional book material by Douglas Carter Beane. Showbiz Christchurch.

Sep 8 - 23. Isaac Theatre Royal.

0800 842 538.

Radiant Vermin by Philip Ridley.

Centrepoint Theatre, Palmerston North. Sep 9 - Oct 7. (06) 354 5740.

Dial M For Murder by Frederick Knott. Sep 9 - 29. Howick Little Theatre. (09) 631 1000.

Last Legs by Roger Hall.

Auckland Theatre Company. Sep 12 - 27, ASB Waterfront Theatre, 09 309 3395; Oct 5 7, Clarence Street Theatre, Hamilton, 0800 842 538; Oct 13 - 15, Baycourt Community and Arts Centre, Tauranga, 0800 842 538.

Pelorus Jack Up by Rick Edmonds. Havelok Town Hall.

Sep 13 - 23.

The Wedding Singer. Music by Matthew Sklar, lyrics by Chad Beguelin, and a book by Beguelin and Tim Herlihy. The Halswell Drama Group. Sep 14 23. Halswell Community Hall.

0508 iTICKET (484 253).

Dracula. Based on Bram Stoker’s classic tale. Adapted and directed by Claire AhuririDunning. Mairangi Players. Sep 15 -23. TheatreWorks,

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

Auckland. 0800 BUY TIX (289 849).

Bouncers ‘90s Remix by John Godber. Limelight Theatre Company. Sep 15 - 23. Caterton Events Centre. 0800 BUY TIX (289 849).

That Bloody Woman by Luke Di Soma and Gregory Cooper. Sep 26 - Oct 8. Fortune Theatre, Dunedin. (03) 477 8323.

Nell Gwynn by Jessica Swale.

Wellington Repertory Theatre.

Sep 20 - 30. (04) 479 3393.

Noises Off by Michael Frayn.

Hamilton Playbox. Sep 22 - Oct 7. Riverlea Theatre, Waikato.

Sunset Boulevard. Music by Andrew Lloyd Webber. Lyrics by Don Black and Christopher Hampton. Based on the Billy Wilder Film. Sep 23 - Oct 7.

Playhouse Theatre, Auckland.

(09) 361 1000.

Disney’s Beauty and the Beast.

Composer: Alan Menken.

Lyricists: Howard Ashman, Tim Rice. Book by Linda Woolverton.

Napier Operatic Society. Oct 6 13. The Tabard Theatre. iTicket.

The Father by Florian Zeller, translated by Christopher Hampton. Circa Theatre, Wellington. Oct 13 - Nov 11.

(04) 801 7992.

One Perfect Moment by Ellie Smith. Fortune Theatre Co., Dunedin. Oct 21 - Nov 11. (03) 477 8323.

Venus in Fur by David Ives. Oct 21 - Nov 11. Court Theatre, Christchurch. 03 963 0870.

Two by Jim Cartwright. Tadpole Productions. Oct 26 - Nov 5.

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

Chitty Chitty Bang Bang. Music & Lyrics: Richard & Robert Sherman. Book: Jeremy Sams & Ray Roderick. Centrestage Theatre Company, Orewa. Oct 28 - Nov 18. (09) 426 7282.

Sweet Charity. Book by Neil Simon, music by Cy Coleman and lyrics by Dorothy Fields.

Manukau Performing Arts. Oct 28 - Nov 11. iTicket

Stage Whispers 63

Emma Matthews in MELBA - A New Musical.

Photo: Clare Hawley.

Reviews: Premieres

Online extras!

Annie Aitken performs “I Am Here To Be The Best.” Scan the QR code or visit https://youtu.be/1ekPxCBpIiE MELBA - A New Musical

By Nicholas Christo and Johannes Luebbers. Hayes Theatre Company and New Musicals Australia. Aug 11 - Sep 9.

ADAPTED by Nicholas Christo and Johannes Luebbers from Marvellous Melba by Ann Blainey, MELBA - A New Musical is a tribute not just to the woman who became Australia’s “first great international presence” but to the strength and steely perseverance that made her our first self -made business woman. Opera and musical theatre have been skilfully blended in a story of fame and success, heartache and longing.

The musical opens with Emma Matthews as the mature, highly lauded Dame Nellie Melba, returning to Australia. As her voice tremors on the final notes of Mozart’s “Porgi, amor, qualche ristoro” we are taken back in time, and Annie Aitkin becomes the young Nellie Armstrong, caught between a difficult marriage, a son whom she adores and her determination to nurture her gifted voice.

Christo and Luebbers intersperse their own music and lyrics with arias relevant to both the story and the operas for which Melba was famous. Arias from Rigletto, La Traviata, Lucia Di Lammermoor, Carmen, Tosca and Romeo and Juliet echo facets of Melba’s own life - her anguish about her marriage and her son, the difficulty of her relationship with Phillipe, and the joy and fulfilment of her career.

Matthews and Aitken work wonderfully together with a fine supporting cast as they recreate the life of the great soprano who toured to acclaim throughout Europe, America, New Zealand and Australia.

64 Stage Whispers

Directed by Wayne Harrison, with musical direction by Michael Tyack, the production moves smoothly through transitions to make MELBA another coup for the Hayes Theatre Company.

Carol Wimmer Little Borders

By Philip Kavanagh. Old 505 Theatre (NSW). Jul 4 - 15.

ADELAIDE’s Philip Kavanagh won the Patrick White Award in 2011 for this, his first full length play, which in Sydney is finally getting its first production. Little Borders traces the chasms of anxiety dividing a privileged middle class couple from their neighbours.

Elle is an online jeweller whose accommodating brightness borders on hysteria; while behind his bland affability, Steve in advertising harbours a casual violence.

Lucy Goleby and Brandon McClelland give excellently pitched performances of contemporary paranoia, a terror of the other whether Muslim or bogans. Together, beginning with their witty joint interview to join a gated community, they are precise and well-matched.

In Kavanagh’s soliloquies, they address us separately about fearful dashes beyond the gates, jogging obsessions, Mohammed next door or the wife bashing, Monaro driver further down. While these have a literary expansiveness, generalising an angst now so familiar today, the real nature of their fears is unexplored.

This makes for amusing farce but our empathy is stretched as Elle and Steve risk being dismissed as lost in a surreal, finally murderous nightmare.

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

Sandy Gore and Michelle Lim Davidson in The Plant.

Photo: Prudence Upton.

Online extras!

The cast discusses bringing The Plant to stage. Scanning the QR code or visit https://youtu.be/o7JH0UO_2eU But it’s still an evocative one hour of theatre, with high production standards from director Dominic Mercer and team. Against a clean cyclorama fronted with miniature models of safe suburbia, designers Jeremy Allan and Charlie Edward Davis nicely frame the couple, who are costumed in tasteful affluence by Isobel Hudson.

Martin Portus The Plant

By Kit Brookman. Ensemble Theatre, Sydney. Director: Elsie Edgerton-Till. Jul 8 - Aug 5.

THREE times a year the Ensemble runs a play it doesn’t reckon will get big audiences in tandem with a crowdpleaser. So it is with The Plant by Kit Brookman, inaugural winner of the Ensemble’s own playwriting competition.

With none of the costumes and setting and lighting and sounds of Neville’s Island, the biggie it shares the limited premises with, nevertheless there is no doubt about which is the better, funnier, more gripping play.

Harry, the dad, has died suddenly three years ago. Sue, the mother (Sandy Gore), is trying to cope with little help from Erin (Helen Dallimore), who has a child of her own; Daniel (Garth Holcombe), a gay teacher with his own problems; and Naomi (Briallen Clarke), losing jobs and partners as she spins along.

The only thing that gives Sue pleasure is a small pot of Rex Begonia, an unlikely reddish plant, which she names Clare. One day the family arrive to find Clare has, apparently, become a real person (Michelle Lim Davidson), dressed in leaves and with flowers in her hair.

The setting is dull and ordinary, but these actors most definitely are not. Sandy Gore lightly presents a touching portrait of grief and rejection, and the others feast on the words and ideas of playwright Brookman. If I pick out Briallen Clarke for praise, forgive me, but she’s marvellous.

Frank Hatherley Incognito

By Nick Payne. Directed by Ella Caldwell & Brett Cousins.

Red Stitch Actors’ Theatre, St Kilda East. Jul 18 - Aug 13.

NICK Payne’s play about the brain and identity is realised with great clarity and skill by the Red Stitch cast of four, who create between them twenty-one characters - of different ages, nationalities and personalities - and five story strands of both ‘real’ and fictitious characters.

Is the human brain the repository of rationality, memory, personality and ability? Or ‘just’ the locus of electrical and chemical actions and reactions? Kate Cole plays a neurologist (as well as four other characters) who claims re the brain, ‘there’s nothing there…’ A ‘real’ character is pathologist Thomas Harvey (Ben Prendergast, playing five other characters), who conducted the autopsy on Einstein and literally stole his brain, slicing it like a salami for the benefit of other researchers. Nothing has ever come from this enterprise beyond the notoriety of Dr Harvey.

Or there is Henry (Paul Ashcroft, who likewise plays five other characters) who suffers such acute memory loss that he cannot remember what has occurred seven seconds previously. His wife Margaret (Jing-Xuan Chan) gives up, but thirty years later, he’s still expecting their honeymoon…

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

Stage Whispers 65

Other characters explore other questions, such as misreading the persona of another, such as disguising reality by deliberately lying, such as the frustration of ‘helpers’ when a patient can’t be known.

The cast handles these multiple transitions with a concentration and control that’s wonderful. They are guided by the joint directors, Ella Caldwell and Brett Cousins, who emphasise emotion and mine the humour: as a result, there’s a flow and a rightness to what we see.

All this plays out under and around Chloe Greaves’ metaphoric set: multiple wires criss-cross above the players like the synapses of a brain. Bare light bulbs, scattered through the wire, light up like thought. Tom Willis’ stage lighting nicely assists transitions from character to character, from story strand to story strand. Music and sound design is by THE SWEATS - subtle and unobtrusive always at the service of the drama.

We could be merely awed by the skill of the Red Stitch cast, but as we untie our knot of concentration at the end, we realise that our brains have been stimulated, and our emotions engaged.

Michael Brindley Australian Graffiti

By Disapol Savetsila. Sydney Theatre Company. Wharf 2 Theatre. Jul 7 - Aug 12.

FIRST time playwright Disapol Savetsila tells an autobiographical tale of Thai immigrants setting up a new restaurant as they search for a life in an Aussie country town.

Almost entombed in David Fleischer’s airless, grey concrete backroom, is a young married couple (Monica Sayers and Kenneth Moraleda) struggling with sickness and displacement, young Ben and his mother (Gabrielle Chan as the bossy maître de with no customers).

Also there is the deceased cook, whose corpse (Srisacd Sacdpraseuth) rises occasionally to give good retrospective wisdom, with some welcome theatrical magic.

Only Ben escapes outside, to pursue his friendship with a local girl (Airlie Dodds). Beyond narky banter, this relationship is underexplored; as is the two dimensional local copper (Peter Kowitz) who, much as he also likes a joke, carries the town’s brutal message of rejection. He’s convinced Ben is vandalising the local Baptist church with graffiti - in Thai.

Australian Graffiti is a tender, sometimes amusing portrait of a community - and immigrant - experience not usually seen on our mainstages. Their story draws us in with thanks especially to Mason Phoumirath as Ben - and the end is chilling sad, but our empathy is eroded by Savetsila’s overly explanatory dialogue.

His play flirts interestingly with some quirky theatricalities but in this production by Paige Rattray the mix is not resolved and characterisations left underdone.

Martin Portus

66 Stage Whispers

He Dreamed a Train Written by Margi Brown Ash and Travis Ash. Directed by Benjamin Knapton. Brisbane Powerhouse, Visy Theatre. Jun 28 - Jul 16.

THE Visy Theatre was the perfect space for us to experience the intimately powerful performance of He Dreamed a Train. It was a personal performance exploring the loss of a sibling to terminal illness. Written by Margi Brown Ash and Travis Ash, it’s inspired by a tale by Margi’s brother and by his illness. While it may move you to tears, the story is still peppered with amazing moments of positivity.

Actors Margi Brown Ash and Travis Ash had outstanding trust and rapport. Margi had this energy and passion you felt was almost punk or jazz in its risk taking and unpredictability. Yet once she did or said something, you were utterly convinced by her. Travis’s physical discipline and articulation provided a comforting counterpoint.

Themes covered complexities of human existence; home, belonging, death and family, theology and myths. The thing that took this amazing show to the next level was the digital set design by director Benjamin Knapton and AV designer Nathan Stibthorpe, ably supported by Travis’ sound design and excellent lighting by Geoff Squires. This show is a work of modern art, at times trippy, at others like being inside someone’s imagination or living in a dream.

It was amazing - life on stage, revealed in all its truth, depicted as a stunning piece of modern art by highly skilled professionals.

Kiesten McCauley An Almost Perfect Thing

By Nicole Moeller. Directed by Gabrielle Metcalf. The Main Space, The Blue Room Theatre, Northbridge. Aug 8 - 26.

AN Almost Perfect Thing is a brilliantly constructed play about Chloe, recently free after being held captive for seven years, but who refuses to share details or give up her kidnapper.

Chloe, her captor Matthew and journalist Greg tell their stories and interact as they move through different timelines, but always with a wonderful cohesion of idea and meaning, as each searches desperately for love and connection.

Daisy Coyle was stunning as the complex Chloe, who struggles to control a succession of situations. Daisy looks appropriate and embodies Chloe beautifully at both 12 and 18 years, and the audience’s desperation to learn more about Chloe (and her story) hooks us to the story.

Nick Maclaine plays abductor Mathew with wonderful drive and a clear belief that Mathew is doing the right thing, making him strangely sympathetic. A fascinating, if disturbing portrayal.

Andrew Hale creates a wonderfully nuanced Greg, who has as much need for acceptance and validation as the other characters. A beautifully drawn embodiment of a character.

Set and costume designer Tyler Hill’s costumes are pointedly theatrical, with a united theme between the

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

Greg Stone, Helen Thomson and Michael Whalley in Hir. Photo: Brett Boardman.

Online extras!

What exactly is Hir? Find out by scanning the QR code or visiting https://youtu.be/LKZxKRX9OdY characters. The set is interesting and eclectic, deliberately ‘arty’ and potentially an insight into Chloe’s mind.

This well-crafted production was gripping, intense and beautifully performed.

Kimberley Shaw Hir

By Taylor Mac. Belvoir. Aug 12 - Sep 10.

AMERICAN queer performance artist Taylor Mac has written a sharp comedy drama, not just about transgender shifts but also wider transitions across the country in gender roles and masculine and working class identities.

US Marine Isaac, dishonourably discharged, returns to his fibro home to find his once alpha male Dad now strokeridden and dressed in a nightie and bad makeup. It’s the revenge of Isaac’s mother Paige, who’s also abandoned all housework and been reborn into the new gender ideologies of her transgender daughter, now girly son Kurt.

Michael Hankin’s domestic set is a gloriously trashed world and his costumes span from character rich bogan to the family dragging up for Paige’s obligatory costume therapy.

Anthea Williams expertly directs both the confused pain and the rollicking ideological satire of Zac’s characters and is well-served by her cast. The incomparable Helen Thomson makes a joyous if terrifyingly zealous Paige. She and Kurt Pimblett as Kurt both underpin the play’s humanity while being hilarious in the mad provocations of this new gender world.

Zac’s ambiguous play throws all cards in the air, but makes no moral case for this new universe. Rather, the victims are obvious.

Michael Walley as the damaged Isaac just wants back his lost masculine certainties. And Greg Stone as Dad barely speaks but ruefully conjures his old bigotries.

Martin Portus Di and Viv and Rose

By Amelia Bullmore. Melbourne Theatre Company.

Southbank Theatre, The Sumner. Aug 12 - Sep 16.

THREE young university freshers move into a share house: Di (Nadine Garner), a sporty lesbian business student, Viv (Belinda McClory), a judgemental, driven design student intent on escaping her roots, and Rose (Mandy McElhinney), middle-class, insouciant, a student of Art History. It’s the early 80s. Their friendship, over the next twenty-seven years, is the subject of a light but amusing and entertaining show.

The text is sometimes mildly shocking in its female frankness, but there’s no sentimentality. Rose sleeps around, but there are consequences. Viv’s drive and focus is rewarded. And rather shy Di finds someone to love. After a near sit-com set-up for all three, darker elements enter the women’s lives - it’s not all sunshine and flowers. But the friendship and the despite-everything loyalty survive in the way first friendships away from home do.

As the play covers such a long time-span, however, things are set up and then dropped. On with the next

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

Stage Whispers 67

Joh For PM. Photo: Stephen Henry.

Online extras!

There’s no business like Joh business. Get a taste now. Scan the QR code or visit https://youtu.be/C_gXV0ILW_M episode in the women’s lives. Something horrific happens in the first act, but we move on again without residue. The second act seems more bitty than the first - and it ends with a lengthy scene of catch-up exposition and new conflict well after the audience is convinced the show’s over.

Di and Viv and Rose is a play that needs pace and momentum (at times lacking here) to keep us engaged with the women’s lives because that’s all this play is: the outside world doesn’t impinge except on the most personal level.

Audiences will see past or through curious production decisions and the bit-of-this, bit-of-that text and respond to and laugh with these three characters so ably and warmly played by these three terrific - and perfectly cast - actresses.

Di and Viv and Rose is a crowd-pleaser that could perhaps be rather more pleasing than it is.

Michael Brindley Joh For PM Music & Lyrics: Paul Hodge. Book & Lyrics: Stephen Carleton. Director: Kris Stewart. Musical Director: James Dobinson. Choreographer: Dan Venz. Jute Theatre Company, Brisbane Powerhouse & Queensland Music Festival Production. Brisbane Powerhouse. Jul 7 - 16.

PAUL Hodge, who had great success Off-Broadway with Clinton - The Musical in 2015, is back in familiar territory lampooning politicians in this new musical, co-written with Stephen Carleton, which puts a satirical spin on the Joh Bjelke-Petersen era (1968-1987) in Queensland, when he was nicknamed “the Hillbilly Dictator”.

68 Stage Whispers

Joh is a perfect fit for stand-up comic Colin Lane, whose performance is way more than stand-up, bringing some humanity to the character, especially his awkward proposal to Flo in “Have I Told You?”. Also good is “We Don’t Do That Nonsense Here”, which justifies his autocratic approach to the rights of almost anyone.

Barb Lowing is a riot of fun as Flo and brings the house down with “Pumpkin Scone Diplomacy”, the show-stopper in the score. She also doubles as a funny Chief of Police.

Chloe Dallimore’s lounge-singer opening in pink leotards, “Joh for PM”, assisted by Kurt Phelan and Stephen Hurst dressed also in pink spandex and with small prop pineapples on their crutch was hilarious. It was a funny routine (full credit to Dan Venz), as was the ensemble “Slush!”, about bribe money paid in brown paper bags, and “White Shoe Shuffle”, which skewered Russ Hinze’s (Simon Burvill-Homes) Gold Coast developer scams.

Hodge has written some catchy earworm ditties and Carleton’s book is clever, with some good one-liners. It’s an enjoyable night out.

Peter Pinne Credentials

By David Williamson. La Mama Courthouse. Aug 1 - 13.

CHRISSIE (Kayla Hamill), born into poverty, is a committed paramedic who got her job with fake credentials. Sprung by her boss, Stephen (Geoff Paine), she pleads with him not to sack her… Meanwhile, Stephen’s daughter, Jessica (Yvette Turner) has had it all - private

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

school, every whim indulged and every choice without consequence…

Credentials is a new play by David Williamson; it’s his generous participation in La Mama Theatre’s 50th birthday celebrations. The writing is bold in form with parallel story strands - the tough Chrissie strand and the Jessica story told from her father’s powerless point of view. It provides comic relief with a characteristic Williamson tone: satiric mockery of self-serving cant and delusion.

Director Tom Gutteridge wisely employs an almost bare stage and relies on the audience’s imagination and the power of his cast. The austere design is by Anastassia Poppenberg and the lighting design by Jason Crick.

Kayla Hamill gives Chrissie a strength that makes her overcoming of her troubles moving. Zak Giles-Pidd has terrific energy and attack as Chrissie’s loser boyfriend Rick.

Geoff Paige plays well to the comedy of the impotent ‘traditional’ father. Nell Feeney’s makes wife Rosy gratingly believable. Yvette Turner plays narcissistic Jessica with all the bewildered innocence of a 25-year-old 12-year-old.

Matt Furlani is quietly menacing as drug dealer and pimp Lenny, and Paul Bongiorno is a brothel customer who turns out to be a romantic…

Credentials has a lot more story qua story rather than a play that ‘explores the characters’ - which means the characters are more functional than ‘rounded’. That doesn’t diminish at all our appreciation of these stories’ final ironic twists.

Michael Brindley Coma Land Written and directed by Will O’Mahony. Black Swan State Theatre Company and Performing Lines WA. Studio Underground, State Theatre Centre of Western Australia, Perth. Jul 20 - Aug 6.

A BLACK Swan State Theatre Company and Performing Lines WA co-production brought this new play, written and directed by Will O’Mahony, to life, in an endearing and intriguing production.

Boon, an eleven-year-old genius, finds herself trapped in a strange world between life and death, where she meets other people also in comas. Beautiful, surreal and allegorical, this sweetly told story hooks its audience.

Central character Boon was played with integrity by Kirsty Marillier, convincingly very young, and capturing Boon’s intelligence and sadness beautifully.

Morgan Owen was delightful as Penguin, a young girl determined to fly, while Humphrey Bower brought depth to her protective father.

Amy Matthews was lovely as Jinny, gorgeously paired with Cola, a polar bear, charmingly played by Ben Sutton.

Patrick James Howe’s set design employed a well-used revolve, while Chris Connelly’s lighting design brought much emotional input.

A gentle, clever and intriguing production that provides great food for thought. A wonderful story of parental expectations, pressure, parties and pandas, and a pleasure to watch.

Kimberley Shaw

Niche

By Eryn Jean Norvill & Emily Tomlins; directed by Nic Holas; original soundtrack/music by Eryn Jean Norvill, Marcel Dorney & Robin Waters. Elbow Room and Darebin Arts Speakeasy. Aug 16 - 26.

NICHE is a coolly intelligent show, beautifully realised, about celebrity and other infectious creations that ‘go viral’.

The term ‘going viral’ infuriates Jodee (Emily Tomlins) - an intense, repressed epidemiologist. But a management company wants her to find which persona will ensure celebrity pop star Niche (Eryn Jean Norvill) will ‘go viral’.

Jodee’s sceptical… But she’s not immune. She too can be ‘infected’. She discovers that Niche sings in a number of contemporary styles, or a pastiche of them (Ms Norvill really can sing and the music is absolutely plausible). She also offers variations of an award acceptance speech…

Jodee gets hot and bothered and begins almost to fall in love with what she knows is a confection - but who turns out to be… a normal, tentative, ordinary woman… confusing Jodee even more.

The research is interrupted by ‘interviews’ on video (shot

by Sam McGilp) in which Ms Tomlins and Ms Norvill play a father and son team of limited intelligence ‘survivalists’ preparing for the end of the world. Second, a middle-class couple parrot the advertising for a housing estate, which they just knew was ‘home’ the minute they saw it.

Congratulations to Creative Producer Samantha Butterworth for pulling together this well-resourced production. Some disturbing animations are by Sebastian Berto, the dazzling light effects are by Amelia LeverDavidson and the clever set is from Owen Phillips. Niche’s ridiculous costumes are by Emily Collett, and her kitsch choreography is by Helen Duncan. Nic Holas’ direction gets the tongue-in-cheek tone just right - both women never try to be ‘funny’ - and it’s as smooth and slick as can be.

Michael Brindley Merciless Gods

By Dan Giovannoni, adapted from short stories by Christos Tsiolkas. Little Ones Theatre & Darebin Arts Speakeasy. Jul 25 - Aug 5.

MERCILESS Gods tells eight merciless stories. Each goes into depths of sorrow, to places and emotions that are faced unflinchingly. It’s not an easy night of theatre; it is confronting, even threatening.

The first piece is a tale of teenage humiliation and a relentless desire for revenge. In the second, a Greek mother watches a porn video - all she has now of her son. Another piece elicits the laughter of discomfort, as a near naked middle-aged writer, self-absorbed and self-loathing, drinks herself to death.

The cast is excellent. Brigid Gallacher pronounces moral judgement on the hipster revenger, spits contempt as the alcoholic writer’s unwillingly dutiful daughter, and then a mother who loves but despises her son. Paul Blenheim transforms from chilling revenger, to out-of-his depth naïf, to male prostitute, broken at the loss of the man he loved.

Sapidah Kian is the red spirit who narrates a sweaty, spermy story of humiliation in a bathhouse. Peter Paltos is the nice

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Stage Whispers 69

guy, a ‘good man’, but then a punishing ideologue in a gaol. Charles Purcell can be butch or a rent boy accepting humiliation, or a good son. Jennifer Vuletic is unforgettable as the alcoholic writer and the Greek mother, but also a sick old man preparing for death.

Eugyeene Teh’s design is stark - a red curtain and a long triangular, bare stage dividing the audience in two. Red dominates costume design, suggesting heat, passion, but also danger. Katie Sfetkidis’ lighting isolates figures remembered, lost or out of reach. Daniel Nixon’s sound design is entirely at the service of the characters’ emotions.

Merciless Gods is no naturalistic psychodrama; it pushes into raw, direct emotion. Little Ones’ distinctive style here is heightened performance, design and lighting. It’s brutal and courageous, neither softening nor shying away from its source material.

Michael Brindley Frailty

By Sue Ingleton. Pricking Thumbs Collective. The Engine Room, View Street, Bendigo. Aug 16 - 20. ‘”FRAILTY, thy name is woman,” says Hamlet. Discuss.’

Such is the topic that brings together Barb (Bev Geldard) and Annie (Bridget Haylock), mismatched, middle-aged women doing an assignment for some adult education thing.

Barb’s a bit of a rough head who left school early, still likes a drink and swears when provoked, which is easy and often. Annie arrives - tentative, trepidatious, stitched-up in her cardie and old-fashioned hair - and she’s brought her own herbal teas! The contrast between the two is nicely judged by Sue Ingleton and she could easily have relied on it for more laughs - but she doesn’t.

Barb and Annie don’t go at their assignment like a couple of blokes. They connect in the uncompetitive but curious way that women can. They mine the text with inspired insight and the anger that arises from their life experiences. The barriers fall away, and they divert into more personal revelations. Annie’s still married - a surprise for Barb - and has three children. Barb remarks casually that her sons ignore her and her daughter hates her. These revelations are not incidental: they weave into their discussion of Hamlet. Barb’s is the more driven, but her past wound still aches, while Annie, who listens admiringly (as a defence?), has rationalised hers.

And what about Ophelia? Barb reckons Hamlet seduced her and that she was pregnant when she drowned. What?

But Barb can back it up. The two of them get excited. The process of reaching the point where inhibitions and discretion are thrown aside are convincing. Confessions are made and tears are shed, but the past remains unhealed.

Frailty is an interaction between two different but convincing women beautifully realised by Ms Geldard and Ms Haylock and beautifully written and directed by Ms Ingleton. This is a product of independent and unsupported theatre. It should be a showcase for the writer and could well be a party piece for these fine actresses. Ms Ingleton tells us that the play will soon go on tour. Look out for it.

Michael Brindley 70 Stage Whispers

Rice

By Michele Lee. Griffin Theatre Company and Queensland Theatre. SBW Stables Theatre. Jul 21 - Aug 26.

MICHELE Lee writes plays only about women of colour.

And that’s just fine: there’s enough already about the white blokes. Rice is about an ambitious, self-obsessed executive working for Australia’s largest rice producer, the granddaughter of a West Bengal immigrant, and a Chinese cleaner with heaps of her own business and family problems.

Kristy Best and Hsiao-Ling Tang play Nisha and Yvette with great truth and spirit, as well as the smaller roles of their colleagues and family. Their growing accord, if not friendship, every night when Nisha works back, is the heart of the play, but background themes cover no less than globalisation, fair food distribution, gender battles and the collapse of good grace and respect.

But without hammering them, Lee’s snappy dialogue dances through all this with wit and considerable tenderness. Risking an often direct delivery to the audience, Lee Lewis keeps the women connected even as they leap into other characters - Yvette’s rebellious daughter and bogan nephew, Nisha’s indifferent boyfriend, impossible CEO and lame colleague in marketing.

It’s an effective simple set by Renee Mulder with transitions nicely punctuated by Jason Glenwright’s lighting and modest AV and musical interludes from Wil Hughes.

While the play early threatens to ramble, Lee quickens her plot with Nisha’s fatal overseas business trip to sell rice to the Indians, and the ending is both moving and unsentimental. Indeed, these women are no heroes, but both are welcome new characters on the Australian stage.

Martin Portus The Absence of Knowing: Four Men and Dog Play by Elvis Peeters.

By Elvis Peeters. Directed by Richard Murphet. La Mama Theatre, Carlton. Aug 17 - Sep 3.

RICHARD Murphet directs two short plays by Belgian writer Elvis Peeters. The texts have no scene setting and no directions - they are simply intertwining and juxtaposed monologues. It’s up to the director what he or she does with them.

The Absence of Knowing: Four Men, has a search party - four dirty and desperate men - on some hostile, windscoured plain, a blasted heath. They are Cas (Rob Meldrum) the doctor, a frightened man who must be there; AD the sailor (Tim Wotherspoon), a big threatening presence; Vic the friend ((Tom Dent), also frightened, a man with secrets, and Jeff the detached guide (Jackson Trickett). They’re after a man who raped the doctor’s sister, Anna (Emma Tufrey Smith). Three don’t know that the rapist is among them.

Back in the village, Anna, no victim, mocks their manly endeavours: she is violated perhaps, but not destroyed.

The second piece, Dog Play, has a Woman (Emma Tufrey Smith) and a Man (Jackson Trickett), contemporary street people, holed up somewhere, f**king themselves into oblivion. Mr Trickett’s Man is obsessed: he shivers and contorts like a man with delirium tremens or in the throes

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Nyssa Hamilton, James Martin and Tasha O’Brien in Technicolor Life.

Photo: Katy Green Loughey.

of ice withdrawal. Ms Smith portrays with galling strength the Woman who remains unknowable; no matter what he does, no matter how violent or how cruel, she will withhold her mysterious self.

The contributions of Mr Murphet’s collaborators here are essential. Roger Alsop’s sound design, particularly in Four Men, hugely enhances the desolation and the inexorable force of Nature. Khris Chaney’s lighting is all sharp, piercing rays and then murk as the men tread warily around each other. Mr Murphet creates indelible images, not for their own sake, but in support of and made inseparable from the text.

Michael Brindley Technicolor Life

By Jami Brandli. The Depot Theatre, Marrickville. Jul 26 Aug 12.

SEEN through the eyes of fifteen-year-old Maxine and her family, Technicolor Life covers aspects of love, ambition, war, rape, post traumatic stress, voluntary euthanasia, divorce, remarriage, and the need to stay strong and independent. And does so without preaching or moralising!

Julie Baz’s direction matches the pace and style of Jami Brandli’s writing with a clear and empathetic vision, pushing her cast to find the many highs and lows of their characters.

Nyssa Hamilton introduces the family and their issues in ‘narrator’ style as Maxine. With bubbling energy, Hamilton carries the significant weight of storyteller, daughter, sister and granddaughter with consummate ease.

Tasha O’Brien plays her sister Billie, a once ambitious soldier who has lost her hand on deployment in Iraq.

Cherilyn Price is loveable and funny as Franny, the loving ‘granny’ who covers the vulnerability of terminal illness with gutsy positivity and a collection of wigs.

Though ‘writ small’, the male roles cover a range of character ‘types’, from two young soldiers to a cruel and opportunistic misogynist and an empathetic carer.

The play is funny and touching. It uses storytelling, realism and symbolism to juxtapose the brutal effect of war and the ‘galmourising’ of women in musical films such as Gentlemen Prefer Blondes - and does it in a way that works, particularly in this production.

Carol Wimmer

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What Belongs To You

By Richard Maker. Stirling Theatre, Innaloo, WA. Jul 21 Aug 5, 2017 THE World Premiere of What Belongs To You reveals a script with much potential, a fascinating storyline and some strong performances, in a play about a Jewish family in Nazi Germany.

Playwright Richard Maker directs his own work. I feel that this show may have benefitted from an outside eye (although indubitably Associate Director Jane Sherwood would have helped), as the struggles of a first-time director are compounded when dealing with new writing. At times the pace was lacking, and editing is required. Some dramaturgy is required to have this script reach its full potential - as it certainly has merit.

The set was well constructed and very of the time, except that the piano (an essential plot point), was very blonde and very modern. Costuming was mostly accurate and properties well chosen, but scene changes were slow and silent and broke momentum.

Characters are well written and allow some of the actors to fly with them. Danni Close was excellent in the central role of Esther Aaronson, a woman whose love and desire to protect her daughters knows no bounds. Although really too young for the role, she was convincing and engaging.

The role of Joseph Aaronson is very challenging and Lachlan Stewart attacked it with vigour. Daughters Leah and Christl were very nicely played, with Taylah Marie making an impressive community theatre debut and Bella Freeman (who shared the role with Lakeesha Motley) shining during her brief time on stage.

Ron Arthurs brought depth and quiet power to Jewish Council Representative Benjamin Kauffman - a pivotal role.

Peter Neaves was unnerving as Nazi Official Frederick Muller.

This beautiful and moving play tells an important story. I would love to see some tweaking of the script and further performances in other community theatres elsewhere in the country.

Kimberley Shaw

John Bell in The Father.

Photo: Philip Erbacher.

The Father

By Florian Zeller, translated by Christopher Hampton.

Sydney Theatre Company / Melbourne Theatre Company.

Director: Damien Ryan. Wharf 1 Theatre, Sydney. Aug 24 Oct 21.

THERE’S so much in The Father that doesn’t seem right.

The wall-mounted telephone surely was in the centre of the set a few minutes ago, and now it’s on a stage-left wall. If must have been moved silently during one of intense blackouts that punctuate the production.

That’s nothing. Soon whole tables disappear, dinner settings, comfortable chairs: the whole room is crumbling, insubstantial. Just like André, the Father himself, played by John Bell.

If André is coming apart, it’s under the eye of his daughter Anne (Anita Hegh), who needs to leave town with her lover Pierre (Marco Chiappi). But, hold on - now Anne is being played by another actress (Natasha Herbert). And Pierre has a new, more violent player, too (Glenn Hazeldine). André is baffled, like me.

Such are the mysteries of The Father, guaranteed to keep you stirred until all is revealed at the end. Florian Zeller’s brilliant Moliere award-winning play highlights the cruelties of love and the limits of filial patience. It has been beautifully translated in Pinteresque patterns by Christopher Hampton.

On a meticulous setting by Alicia Clements lit by Rachel Burke, Damien Ryan’s careful production eventually strips John Bell of just about everything. In an echo of his famous portrayal of King Lear, Bell is left with nothing. It’s a terrific performance, including plenty of knife-edge moments: there’s even a brief show of tap-dancing.

Some scenes are repeated. How many times could André lose his gold wristwatch? The scene breaks, the long blackouts (with music provided by Steve Francis) tried my patience. But I had to revise my opinion by the end. It all made perfect, ferocious, desperate sense.

Frank Hatherley

Online extras!

John Bell reveals his reasons for tackling The Father. Scan the QR code or visit https://youtu.be/93p7F7zGmcs 72 Stage Whispers

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Reviews: Plays

Andrew Hansen in Neville’s Island.

Photo: Prudence Upton.

Online extras!

Enter the world of Neville’s Island by scanning the QR code or visiting https://youtu.be/tcqThdHL33E The White House Murder Case

By Jules Feiffer. Directed by Eddy Knight. Red Phoenix Theatre. The Studio, Holden Street Theatres, Hindmarsh.

Aug 10 - 19.

RED Phoenix’s latest Adelaide premiere is a darkly funny, divertingly offbeat, bracingly relevant vision of politics and the military. The absurdist terrors - and hilarities - of the battlefield come to vividly gruesome life on one side of the stage, while the Oval Office on the other side plays host to machinations that prove to be no less fatal, and almost as blackly amusing.

Tim Williams’ resemblance to a certain former US president makes for effective casting, and Anita Zamberlan Canala is believable as the First Lady with a moral conscience. Joshua Coldwell is right-on-target in the role of intelligently sceptical Professor Sweeney, while Tony Busch does a solid job as Attorney General Cole, and Wayne Anthoney’s Secretary of Defense Parson successfully embodies the playwright’s depiction of White House strategy as feebly imprecise and befuddled.

Gary George is both ideally cast and uproariously funny as an unfortunate casualty of war, Brant Eustice delivers yet another of his deliciously complex and credible characters, while the invaluable duo of Robert Bell and Matt Houston are simply a sensation in their unforgettable roles.

Music selections make their point perfectly, stage design and costumes communicate the necessary sense of place (and patriotism), while Richard Parkhill’s lighting provides the final, supportive, unobtrusive touch on a smart and

spicy mixture that those who can appreciate satire ought to treat themselves to.

Anthony Vawser Neville’s Island

By Tim Firth. Ensemble Theatre, Sydney. Director: Mark Kilmurry. Jun 29 - Aug 12 A PATRON in Row A bats away the thick mist that whirls round his seat. Setting is everything at the Ensemble: you’re so close to the action every small detail must work. Full marks then to Designer Hugh O’Connor for his impressive work on this comedy set on a small, uninhabited Tasmanian Island.

When the cast arrive they are absolutely drenched. Their boat has upturned, leaving this four-man team of dogged potential managers water-logged (really!) and cross. Neville (David Lynch) is nominally in charge of these sadly unready businessmen from a North Ryde mineral water company, though he has no idea what to do next.

There’s Gordon (Chris Taylor), loud mouthed moaner who has lost his backpack overboard; Angus (Craig Reucassel), whose giant backpack, stocked by his wife, seems to hold everything that could ever be needed; and Roy (Andrew Hansen), a quiet God-fearing chap, who climbs trees to be closer to the native birds. These three actors have something in common - they have all appeared in ABC TV’s The Chaser (and similar shows). It says something for director Mark Kilmurry that he can rustle them up together for a theatrical season.

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Stage Whispers 73

Ella Prince and Lucy Heffernan in 4:48 Psychosis.

Photo: Andre Vasquez.

And they are excellent. Taylor moans and groans nonstop splendidly, Reucassel watches quietly and is laid low when his wife comes under critical examination, and Hansen is genuinely moving as a hymn-writing type who can get further back to nature than his fellows.

Frank Hatherley 4:48 Psychosis

By Sarah Kane. Workhorse Theatre Company. Director: Anthony Skuse. Old Fitz Theatre, Sydney. Aug 16 - Sep 9.

4:48 Psychosis refers to that moment in the early morning when a muddled, besieged mind achieves clarity.

So it was with playwright Sarah Kane. And having struggled through the hour of dark and twisted action to achieve such momentary awareness myself, I have to bow my head.

For Kane was never to see her play performed. She committed suicide at 28.

Her play, directed by Anthony Skuse, and performed by three compelling actresses, Lucy Heffernan, Ella Prince and Zoe Trilsbach, is probably Sydney’s least attractive theatre offering.

In this portrait of what it means to be terminally depressed, Sarah Kane calls for the total commitment of all concerned. There are no roles. Her dialogue can be divided up any way the company chooses. It has been performed by one actress. It has been performed by many.

At the Old Fitz Theatre, with noise from the bar filtering down, we sat spellbound as this version of the text was played out: the patient, the doctor and (possibly) the patient’s lover, in shafts of light in front of two mirrored 74 Stage Whispers

walls (designed by Jeremy Allen), with the ceiling opening occasionally flooding the audience with light (designed by Alexander Berlage), and with creepy music playing throughout (by Benjamin Freeman).

This is the most powerful hour on stage in Sydney right now.

Frank Hatherley All My Sons

By Arthur Miller. Directed by Chris McLean. Presented by Heidelberg Theatre Company. Jul 7 - 22.

ALL My Sons may seem like it is a play about a bygone era, yet many of the themes that were highlighted in this production were relevant to a contemporary context.

Miller’s text is intriguing in the way it shows how the personal cost of war also transforms to a wider loss that is felt in broader society.

Kate Keller (Julie Arnold) is played with a forcefulness that makes her pain from the loss of her son very palpable.

Arnold’s presence on stage created a strong dynamic between all the characters and is often central to the more dramatic scenes. Joe Keller (George Werther) was portrayed as a truly endearing character which gives the tragic revelations great impact.

Anne Deever (Claire Abagia) conveyed both elements of naivety and shrewdness that gave her character complexity and depth. The nuances in Chris Keller’s (Liam Gillespie) characterisation were not as clearly delineated. Chris is faced with some enormously challenging moral dilemmas

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and this could be accentuated more. Overall, the entire cast provided some substantial and solid performances.

The set is extremely evocative and creates a wonderfully homely and warm environment. Although the atmosphere among the characters changes, the atmosphere created by the set seemed to remain static. However, the staging is beautifully managed and the production as a whole gives a very faithful portrayal of this exceptional text.

Patricia Di Risio

simple but effective set. Speller in particular was strong as the aggressive Sister Aloysius. Hynes was highly believable as an innocent man, a man of the cloth who simply wanted to do God’s work. And yet...

Danielle Aquilina as Sister James played a solid role as a gentle sister, pushed, cajoled and prodded by Sister Aloysius to give any information that might implicate Flynn.

Their many scenes together made excellent theatre.

Alteouise De Vaughn as Mrs Muller, the boy’s mother, played her small role superbly, an excellent depiction of a The Age of Consent mother fighting against the social injustices of the period.

By Peter Morris. Two Tall Theatre. Civic Playhouse, This very good drama, well acted by all on stage, proved Newcastle. Jul 19 - 22. to be highly compelling and thoughtful theatre.

Ken Cotterill THIS revival of Peter Morris’s look at two people who see their lives about to change had not lost its power since it was staged at Newcastle’s Royal Exchange in 2015. In their Caravan alternating monologues, Jerry Ray as a 19-year-old who has By Donald MacDonald. PEP Productions. Doncaster been imprisoned for eight years for the murder of a small Playhouse. Aug 17 - 26. boy and is soon to be released, and Amy Wilde, as the 25A LONG-PLANNED couples holiday gets off to an year-old mother of a six-year-old girl she is transforming unfortunate start as Penny and Parkes arrive. When their into a paid actor, revealed the darker side of what was long-time friends, Monica and Rodney, arrive we discover happening. that this is the first time he and Penny have seen each other While reasonably intimate, the Civic Playhouse is a larger after an alcohol-induced indiscretion a fortnight ago. Along venue than the Royal Exchange, and the staging team, led comes Pierce, with a girl half his age, and that’s just the by director Patrick Campbell, had images on the start of their troubles. background wall from newspaper posters about crimes and Director Lorraine Millar should be very proud of her cast, stage show advertisements that reflected the spoken words who play the bold and brash comedy with ease, using the and underlined their dark irony. awkward silences and complementing each other within The teenager, Timmy, initially seen in prison garb, talks the farcical language. about a troubled family background that impacted on his PEP’s basic raised set is the interior of an aging caravan, dealings with others, and makes amusing comments about with outside action achieved by actors remaining in role excursions and other events that were part of his and by excellent sound effects. rehabilitation process. And he says that the technical This script is brilliant for two leading ladies, Salina training he received while incarcerated was something he Henderson as Penny and her polar opposite Monica, played would not otherwise have had, phrasing it as “something I by Erin Gill, working brilliantly alongside one another. had to kill for”. His final appearance left watchers Henderson’s higher pitched voice compared to Gill’s unnerved. Had he really learnt anything while locked up? brusque undertones made the comedy between them more The single mother, Stephanie, likewise was intent on grandiose as the play progressed. ignoring the dangers involved in her actions. Initially Natasha Aranchini, as the trophy girlfriend, Gwendolyn, elegantly dressed in clothing that a woman would wear to fitted in with the other women easily. Although, it would a business meeting, she unsettlingly revealed how she had have been nice if there was a bit more of a contrast pushed her daughter, Raquel, into dance and singing from between the ‘30-somethings’ and the ‘22-year-old’ in virtually the time she was able to walk, and had continually movement or qualities on stage, not just in their made the rounds of producers to see if they would use the appearance. child onstage. Her last words, about the producer who was The men, Justin Cleaver (Parkes), Nick Rouse (Rodney) looking after and supposedly training Raquel, made it clear and Julian Campobasso (Pierce) worked well against one he was a paedophile. another, again, showing opposites in characterisation to Ken Longworth complement and juxtapose with their wives/girlfriend.

This seemingly simple, yet deceptively tricky, farcical Doubt: A Parable script had the audience in stitches. It is really nice to see an

By John Patrick Shanley. Directed by Paul Hynes. Cairns Little Australian comedy of this calibre.

Theatre. Aug 23 - 26.

Penelope Thomas SET in a Catholic school and church in the Bronx, New York City in the 1960s, the core of Doubt is a titanic clash Rose’s Dilemma between Father Flynn and Sister Aloysius. Aloysius is a

By Neil Simon. St Jude’s Players (SA). Aug 3 - 12 determined woman who firmly believes that Flynn has had ROSE Steiner’s life is haunted by the memory of her an inappropriate relationship with a 12-year-old pupil. dead lover, acclaimed author Walsh McLaren. Unable to let This timely, beautifully written drama is so well acted by go, she herself has been unable to write a novel in five Paul Hynes as Flynn and Sarah Speller as Sister Aloysius on a years. Stagnant with the burden of grief, she continues to Longer versions of many reviews can now be found at www.stagewhispers.com.au

Stage Whispers 75

communicate with her soulmate. It is during this time that McLaren urges his beloved to finish his last book.

Lyn Wilson gives a layered performance as Rose. Her sense of longing is felt throughout, allowing the audience to empathise with her dilemma. Andrew Horwood cuts a menacing figure as he too struggles with letting go. These former lovers deliver chemistry in spades.

Laura Antoniazzi and Simon Lancione play Arlene Moss and Gavin Clancy respectively. Clancy is introduced when Rose needs help to finish Walsh’s book. Having had limited success with his own writing endeavours, Lancione brings a brash freshness to the story. Antoniazzi’s naïve charm is a lovely contrast to the solemn delivery of her mentor Rose.

Mary-Jane Minear has designed a stunning and workable set, giving the actors space to move in a realistic and aesthetically pleasing manner. Set in The Hamptons, you can almost feel the breeze from the deck overlooking the water.

Brian Godfrey’s direction is artistic and thoughtful.

Illuminating the pathos, he is successful in eliciting an appropriate response from the audience. This local theatre group has served up another fabulous and thoughtful night at the theatre.

Kerry Cooper Much Ado About Nothing

By William Shakespeare. Shakespeare’s Women, at the NTC Theatre, Lambton (Newcastle). Jun 21 - 23.

THIS inaugural production by a new company focusing on Shakespeare’s plays showed how timeless the Bard’s works are, with loud laughter from audience members as they followed the experiences of two young couples whose romances are helped and hindered by those around them.

It’s love at first sight for one pair, returning-from-war soldier Claudio (Oliver MacFadyen) and Hero (Marjorie Butcher), daughter of the region’s governor, while the other two, Benedick (Kris McCord), another soldier, and Beatrice (Belinda Hodgson), the governor’s niece, make cutting remarks about each other when they are in the same space. All the cast members, playing very different people, gave excellent performances under Amy Hill’s direction, and the setting, with white platforms of various heights and transparent curtains that glowed under some of the lighting, enabled swift and often amusing movement between the story’s many places.

The production changed the sex of one villainous character, John, the brother of a general, to a woman, Jean, and the alteration worked well in Anna Lambert’s interpretation, with her early voiced comment, “I am a plain -dealing villain”, having watchers laughing and reflecting on her declaration. And Jean, indeed, did nothing to hide her ruthlessness.

A masked ball was a highlight, with the disguised two pairs of young people being manipulated by others. The delivery at various points of the story of a song, Sigh No More, by minstrel Balthasar (Nicholas Thoroughgood), which looks at men’s infidelity, showed how adept Shakespeare was in using lyrics to make relevant comments.

Ken Longworth 76 Stage Whispers

The Game’s Afoot

By Ken Ludwig. Theatre on Brunker, at St Stephen’s Hall, Adamstown (Newcastle). Aug 11 - Sept 2.

PLAYWRIGHT Ken Ludwig’s send-up of Sherlock Holmes’ detective stories and the writer-actor William Gillette who starred as Holmes for 30 years had lively treatment in this production. Gillette was initially seen being shot in an arm by an unseen assailant while taking his bows at show’s end.

A subsequent Christmas Eve gathering at Gillette’s elegant mansion saw one of the guests being murdered, with the actor donning his Sherlock Holmes garb to lead an investigation and being far more efficient than the policeman sent to check out the crime.

One shock followed another, with Gillette (Andrew Trigg) and his long-time fellow actor friend Felix Geisel (Drew Pittman, who also directed), making amusingly effective use of the secret doors and technical equipment in the building, with Chris Bird’s elaborate living room set having watchers in awe. A fierce storm that repeatedly turned out the lights also added to the intrigue. But the staging maintained a dark humour in the most glittering moments, with surprises being revealed about the other partygoers, including Geisel’s actress wife (Amanda Woolford), Gillette’s demanding mother (Rosemary Dartnell), a pair of newly wed performers (Aaron Churchill, Sandra Aldred), an officious theatre critic (Katie Wright), and the would-be actor police inspector (Georgia Woolford). A shock revelation in the closing moments had audiences laughing uproariously.

Ken Longworth Love and Information

By Caryl Churchill. Stooged Theatre. Catapult Dance Studios, Newcastle. Jul 29 - Aug 6.

CARYL Churchill’s play makes interesting use of scenes ranging in length from just a few seconds to around five minutes to explore interwoven themes of love, deception, technology, loneliness, and the nature of information. She gets onlookers asking themselves how do we handle memories and what are our best methods of communication. Staging companies are asked to stage a minimum of 50 scenes, but Churchill wrote 76 and companies can choose to use more.

The Stooged production had nine actors - Daniel Cottier, Emily Daly, Jan Hunt, Dez Robertson, Christopher Saunders, Claire Thomas, Nicholas Thoroughgood, Aretha Williams, and Emily Williams - in 56 scenes, and playing more than 100 characters in a tight 90 minutes, with audience members sitting on either side of the performance space as characters made appearances and then vanished. There were mainly two people in each scene. One had a pair throwing a ball to each other while discussing relationships; another had a sister delivering a startling revelation to her young brother while he’s trying to use his mobile phone; and there was an amusing sequence with an annoyed person confronting a former employer and telling him that people shouldn’t be fired via email.

Director Chloe Perrott and the cast and crew made effective use of everyday wear and music and sound, with

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Cry God For Harry!

Photo: Jacqui Munn.

the latter evocatively used in the background in a moving moment where a woman asked a doctor how long she has to live.

Ken Longworth Cry God For Harry!

By William Shakespeare, adapted by Rob Croser.

Independent Theatre. Space Theatre, Adelaide. Aug 4 - 12 ADAPTING three of Shakespeare’s history plays into one is an epic task and Rob Croser’s Cry God For Harry! is epic in every way.

Cry God For Harry! combines several teasers from Richard II and a considerable amount of material from Henry IV and Henry V. Independent Theatre is well known for its production values and this was no exception. David Roach’s stark minimalistic set perfectly matches the adaption. Roach’s set design is complemented by David Green’s lighting design.

Rob Croser’s soundscape is cleverly synchronised with the lighting, giving us an insight into each character’s thoughts.

In directing and adapting this production, Croser has taken on a mammoth task. His direction is clearly evident in every aspect of the play.

Cry God For Harry! is dominated by two stellar performances, Will Cox as Prince Hal and David Roach as Falstaff.

Cox’s Prince Hal is initially playful and naïve, developing as the play develops into a worldly-wise monarch who is

not afraid to make decisions that are unpopular with his court.

David Roach’s Falstaff is jocular, ribald but always nurturing of Jack.

There are many fine performances from the rest of the cast including - Bronwyn Ruciak’s bawdy, sensual Hostess of the Boar’s Head Tavern; James McCluskey-Garcia’s level headed Lord Chief Justice; Tim Taylor’s austere Earl of Westmoreland; Jonathan Johnston’s intense Hotspur and young Jaydan Bush as Falstaff’s page.

My only reservation with this production was the inaccurate articulation from some of the actors which resulted in some of the dialogue being lost.

Cry God For Harry! is a must for all lovers of the Bard!

Barry Hill Other Desert Cities

By Jon Robin Baitz. Playlovers. Directed by Barry Park. Old Mill Theatre, South Perth, WA. Aug 4 - 19.

THE currently homeless Playlovers has taken temporary residence at South Perth’s Old Mill Theatre, with a nicely polished, well directed production of Other Desert Cities.

Director Barry Park’s set design, brought to fruition by Greg Aylmer, convincingly creates the living room of wealthy Palm Springs couple, Lymen and Polly Wyeth. The set was solid, believable and classy.

A very strong cast worked well together, creating believable family dynamics.

Catalyst character Brooke Wyeth has written a book which exposes a family secret. Brooke is played with great

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Stage Whispers 77

Uncle Vanya.

Photo: Bec Taylor.

credence by Sally Bareness, who brought much depth to the role.

Brooke’s parents were played with sophistication by Dan McAskil and Cate Jennings, working well together and bringing much light and shade.

Slightly eccentric Aunt Silda was expertly played by Chandra Wyatt, an audience favourite with lovely nuance.

Rounding out the cast was Steven Hounsome as Tripp Wyeth, in a very solid performance.

Lighting was well designed by John Woolrych, and neatly operated by Jack Bengough, while Daniel Toomath controlled sound well.

This is a very tight, very slick production, with much to admire.

Kimberley Shaw

the seasonal transitions in the play. Beh’s whimsy, heart and poetry as a director shone through in those moments.

Lighting by Emily Allen and Sound Design by Peter Crees were both strikingly good and fight scenes were exciting. It was a little hard to tell in which period the play had been set, due to a few costume and set design choices. Some of the casting seemed a little incongruous too, but the acting skill made up for that small dissonance.

Occasionally one or two actors slipped into unrestrained territory, but every one of them had superb moments of believability. The Curators showed one doesn’t need a huge budget to put on a great quality production.

Kiesten McCauley

Grace

By Craig Wright. Knock and Run Theatre, at the Civic Uncle Vanya Playhouse, Newcastle. Jun 28 - Jul 2.

By Anton Chekhov. Directed by Michael Beh. The Curators.

GRACE is a challenging play to stage, but the team Magda Community Arts, Bardon Qld. Aug 18 - Sep 2. involved in this production did a good job. American ON a windswept evening in Bardon in an intimate playwright Craig Wright set the story in a seaside town in venue, an independent troupe called ‘The Curators’ Florida, with a young devoutly Christian couple moving performed Uncle Vanya. Chekhov’s work was appreciated there with a plan to establish a chain of Gospel-themed by a supportive opening night crowd that enjoyed the “Sonrise” motels. They supposedly have the backing of a script’s existential ennui, unrequited love and dark humour. Swiss investor, but things don’t go the way they hope. And This 120-year-old play was painfully relevant with its the wife finds herself increasingly attracted to the resident themes of equality for the sexes, the plight of the working of the adjoining unit, a NASA scientist whose fiancée died man, and the destruction of the environment. in a car accident which also left his face badly scarred.

The pacing could have been tighter but overall, direction The play is set in the two identical apartments, with was very clever. Michael Beh had drawn some lovely work both shown as one on the stage. The challenge for the out of his cast and crew. His most mesmerising choice was actors, and they met it well here, is to move about as if in a 78 Stage Whispers

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separate space, and, frequently, moving behind or in front of the other(s). The performers, under the direction of John Wood, did this excellently.

Mathew Lee, as husband Steve, early in the story amusingly declared that “I talked to the stars and they talked back,” suggesting that he had God’s blessing. Then, as it became increasingly obvious that the money wasn’t coming, the constant rubbing of an itch showed his growing concern. The intensifying desperation of Samantha Lambert’s wife, Sara, about their financial state was understandable, as was her increasing attraction to neighbour Sam while she was trying to comfort him during his extended recovery time. James Chapman movingly brought out Sam’s guilt about allowing his fiancée to drive on the fatal day and began returning Sara’s comforting support.

The story’s fourth character, Karl, a plain-speaking octogenarian pest exterminator, was a marked contrast to the others in Paul Sansom’s performance, referring to Steve and Sara as “Jesus freaks”.

Ken Longworth

Blackrock

By Nick Enright. La Boite and QUT Creative Industries.

Director Todd MacDonald. Roundhouse, La Boite Theatre.

Jul 22 - Aug 8.

THIS harrowing story requires focus, commitment and a lot of trust between a cast and crew. The tale deals with the drunken gang rape and murder of a high school girl at a party and the aftermath in the seaside community.

If the subject matter isn’t challenging enough, the show was performed in the round, presenting further challenges.

Often, in the most heart-wrenching moments, one couldn’t see the actors’ faces and thus missed the emotional nuances of performance.

That said, the director (and current La Boite Artistic Director) Todd Macdonald achieved positive results from his cast and crew and made some clever choices. The set was fabulously constructed and designed by the extremely talented Anthony Spinaze. Lighting Design by Verity Hampson was perfection and Fight Direction by Nigel Poulten was outstandingly realistic.

All of the actors did well to capture the accent and vocal tones of their recognisably Australian characters. Annabel Holding the Man Harte (Shana/Policewoman) and Amy Ingram (Glenys/

By Tommy Murphy, based on Timothy Conigrave’s memoir. Marian) gave stand-out performances. Karl Stuifzand Lane Cove Theatre Company. Director: Kathryn Thomas. The (Ricko) nailed the physicality, emotion and linguistic style of Performance Space @ St Aidan’s, Longueville. Aug 11 - 25. his character in a very challenging role. The weaker links IN a week where marriage equality dominated the were Tom Wilson (Scott) and Bianca Saul (Tiffany), both of national news, the tearing down of posters for this whom just needed to shake a little of that selfproduction also made the news in the lead up to opening consciousness one often sees in younger actors.

Blackrock is a heartbreaking Australian tragedy. Even night.

The sensitive, real-life rites-of-passage story of two though it was first written over 20 years ago, Nick Enright’s young gay men, from teenagers in a Catholic Boys School in tale of peer pressure, toxic masculinity and victim blame the 1970s through the tragedy of the AIDS epidemic and sadly still resonates profoundly with a modern audience. young lives cut short, is based on central character Timothy Kiesten McCauley Conigrave’s own memoir.

Beautiful writing and truthful performances combine in The Uninvited this heart-warming production. The relationship between

By Tim Kelly. Tugun Theatre Co, Gold Coast. Director: Brent Dolahenty as Tim and Wayne Buckley as John Rianna Hartley-Smith. Aug 10 - 26. resonates powerfully and touchingly. I cared deeply about FIRST-TIME director Rianna Hartley-Smith has assembled these two young men and the love they shared. a talented cast including Nicola Barrett, David Fraser, Peta A supporting ensemble of four - Trent Gardner, Rebecca Simeon, Nathan Schulz, Margaret Radcliffe and Cecile Leedham, Isaac Downey, and Hannah Lehmann - move Campbell for this ten-hander thriller, which is full of mystery adeptly between the wide range of characters who and intrigue, with strong performances from all involved. populate the play.

Set in western England in the 1960’s, the story revolves Their camping scene had the audience in stitches, around an old cliff-top house that has been uninhabited for clubbing scenes too were great fun, while their episodic a number of years and has been the focus of various stories scenes as the parents delivered genuine journeys, rousing over that time. our empathy along steep learning and loving curves from With a very wide stage, the single set was suited for the disapproval to acceptance. piece, which culminated with a well directed séance.

The production’s simple design (well-placed black flats Technical support was a feature of the production, with chalked messages) should have allowed a swift, which included a very strange noise at the precise moment cinematic flow of the numerous scenes, so perhaps my only one of the cast saw an image in her compact mirror (I later qualm was that a soundtrack of hits from the era slowed found out that it was an audio malfunction - but the timing the flow of the evening. couldn’t have been more perfect!).

With its messages of love and acceptance, this Congratulations to all concerned with the production. production of Holding The Man couldn’t be more timely, or Roger McKenzie more engaging.

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

Stage Whispers 79

The Rover

By Aphra Behn. Directed by Eamon Flack. Belvoir Theatre, Sydney. Jul 1 - Aug 6.

FOR a 1677 play, The Rover feels very modern. Written

by Aphra Behn, one of the first women in England to make money from writing, this is a comedy that’s brave, brash, and very funny. On top of that, Eamon Flack has given the look, feel and many of the lines in this production a contemporary edge. Together with a wonderful cast, he’s done a brilliant job.

Nikki Shiels swashes onto the stage and nails the play’s opening monologue. She plays the playwright herself, framing the play within a feminist setting. But by feminist, she is not too serious. The women here are feisty, fun and full of life.

Even though this play is ostensibly about a group of English playboys in Naples, the women lead the action and the men follow. Shiels also plays the courtesan, Angellica Bianca, whom even while chasing a love matches - and usually exceeds - the subject of her attention. That subject is the rover himself, Willmore, played by the actor here with the main billing: Toby Schmitz. He’s played a similar part before and it’s clear such roles are made for him. You can see why various women fall for him.

The ensemble is very good but two brilliant comic actors stand out. Megan Wilding is the only nod to diversity in a very white cast (there’s a joke about that). She plays two parts - Moretta and Lucetta - and her delivery is hilarious.

Online extras!

Check out a trailer for Belvoir’s The Rover by scanning the QR code or visiting https://youtu.be/cpcT_F6Utl0

The Rover.

Photo: Nikki Shiels.

80 Stage Whispers

And then there’s Gareth Davies, playing the foppish English country gentleman Blunt. Davies is the master of the play’s physical jokes, his verbal gags are pitched perfectly as well - and yet his character is sympathetic.

This is an incredibly physical production, with lots of sword-fighting, people chasing each other off and on stage, and many of the lines feats of interplay too.

Movement director Scott Witt deserves a lot of credit.

The adaptation of this play is probably a little too long it runs close to three hours, although it doesn’t drag.

But at a time when so many re-imaginings of classic works miss their mark, Flack and his team show how it should be done.

Peter Gotting Kindertransport

By Diane Samuels. Darlinghurst Theatre Company. Eternity Playhouse. Jul 28 - Oct 20.

KINDERTRANSPORT is a based on one of the 10,000 mostly Jewish children evacuated to Britain from Nazi Germany just before the War. Most never saw their parents again.

Diane Samuels’ tender play explores the abandonment felt by Eva, an awkward nine-year-old from Hamburg, the rigid independence and denial in the British woman she becomes, and the bewilderment of her own daughter left out of Eva’s secret.

Across four decades, as boxes are packed and repacked, the action nicely meshes these generations, times and memories in scenes played almost simultaneously. Imogen Ross’ wall of cardboard boxes and old wardrobes, sometimes transformed into trains, provides a fine setting.

Sarah Greenwood is touchingly gauche as Eva, and Camilla Ah Kin bristles as her nervy adult self, while Annie Byron is familiar as the warm Manchester woman who adopts Eva. Harriet Gordon-Anderson is the egocentric daughter, Emma Palmer is Eva’s tragic mother left behind while Christopher Tomkinson does walk-on roles in a play which leaves the men aside.

Sandra Eldridge nimbly directs this ensemble - and Eva’s unfolding secret - through the time shifts, supported by inventive soundscapes and lighting effects from Jed Silver and Matt Cox. Even with this welcome theatricality, Samuels’ 1993 play is occasionally laborious and overwritten. But it’s a compelling journey with a thoughtful, provocative climax, even if the final, very un-British explosion of emotion doesn’t quite hit home.

Martin Portus Mr Stink

By Maryam Master. Based on the book by David Walliams.

CDP Kids production. Directed by Jonathan Biggins.

Canberra Theatre, ACT. July 20 & 22, and touring.

Mr Stink stinks. To the people of the town where he has moved to take up residence on a park bench, that is his most notable feature, and the name that he chooses to go by. Chloe, played by Romy Watson, is the one person who is friendly towards him, introducing herself and promising

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One Flew Over The Cuckoo’s Nest.

Photo: Marnya Rothe.

to get him some sausages. Chloe has a number of problems herself: bullied by mean girls at school, harassed by her upwardly-mobile mother to do better at school, and not as extraordinary as her sister. Unlike her father, Mr Crumb, she isn’t able to simply disappear from view and avoid being pressed into service towards her mother’s electoral ambitions.

This play is heartwarming and funny. Mr Stink, played

by John O’Hare, is both amusing and wise and does things his own way, including bathing in the garden. Anna Cheney is a treat as Mrs Crumb, seeking election and showing all her prejudices. Her distress and confusion at the chaos that Mr Stink brings to her ambitions is very clear.

Darren Sabadina plays Mr Crumb, who is hiding his unemployment from his bossy wife and who dearly loves his daughters. He also plays Raj, the local shopkeeper, with great comic timing and encourages participation in his favourite Bollywood dance.

Set design by James Browne is clever – moving from a shopfront to a park, and the dining room in the Crumbs’ house. Lighting design is by Nicholas Higgins.

This production is perfect for the young at heart.

Rachel McGrath-Kerr

institution able to retard development and hamper spiritual, mental and emotional growth”.

Under stark lighting designed by Martin Kinnane, on Isobel Hudson’s sterile white set, Hardwick’s vision sees seemingly soul-less inmates monitored at all times, 1984style, with any untoward action censured by the omnipresent voice of the tyrannical Nurse Ratched.

Into this group of cocooned, sombre characters comes the rebellious Randle Patrick McMurphy, who challenges the complacency of the ward - and the control imposed by Ratched.

Anthony Gooley is almost larger than life as McMurphy, exuding suppressed energy and swaggering confidence, tempered by a sharp intelligence and the tough resilience that has made McMurphy a survivor.

Di Smith is impressive as the clinical, domineering Nurse Ratched. Smith’s portrayal is steely and dispassionate, finding the insidious, controlling detachment of the character. Her cruel emasculation of those in her charge extends to her staff (Matilda Brodie, Nick Rowe and Patrick Cullen) and her ‘tame’ physician Dr Spivey (Johann Walraven).

The patients are played with acute sensitivity by Laurence Coy, Joshua McElroy, Wayne McDaniel, Stephen One Flew Over the Cuckoo’s Nest Madsen, Tony Poli and Wendy Strehlow, who work

By Dale Wasserman, based on the novel by Ken Kesey. Sport together in inspiring collaboration.

For Jove. Seymour Centre. Aug 3 - 19.

Harwick’s production is tight, intense and every bit as DIRECTOR Kim Hardwick’s vision of the play suggests it confronting as the film. is a “metaphor for modern America … a womb-like Carol Wimmer Longer versions of many reviews can now be found at www.stagewhispers.com.au

Stage Whispers 81

Paris.

Photo: Ben Fon.

Reviews: Musicals

Online extras!

Listen to “For Better Or Worse” from Paris by scanning the QR code or visiting https://youtu.be/yuGATQvM3pc Paris

By Jon English and David Mackay. Music Theatre Melbourne (In Association with Stella Entertainment). Melbourne Recital Centre. Jul 13 - 15.

A BUZZING full house at the MRC was the perfect audience for the first professional performance of Jon English’s passion project: a retelling of the Trojan Wars, with the spotlight thrown on the doomed love of Paris of Troy and the beautiful Helen.

A concert performance was the right choice to showcase this work as the orchestra, under the baton of musical director Isaac Hayward, was sublime.

With the women in white chitons, the men in black, and all wearing purple mantles, the chorus deserve special mention. The musicality, passion and overwhelming strength of their singing in gloriously disciplined ensemble was a highlight of the show. As well as the stunning lighting design, what truly lifted this piece into a tour de force was the screen behind the performers, which showed typewritten stage directions and lyrics, which gave the audience a glimpse of the entire work.

The principal singers combined a who’s who of Australian music standing alongside talented younger performers. As Paris and his Helen, Matthew Manahan and Madeleine Featherby evolved from young, troubled lovers sidelined by their power-hungry families to powerhouse performers as the Trojan War dragged on.

Scott Johnson (Hector) was suitably sarcastic and worldweary as the designated grown-up brother. John O’May and Shirley Bowen added a touch of gravitas and dignity as 82 Stage Whispers

King Priam and Queen Hecuba, fatefully indulging their younger son until the very end.

One of the best moments in the show is the introduction of the Greek kings and warriors in the fantastically-written song “Business”, which gave a different spin to the usual tale of a war of revenge. Tim Freedman as the scheming, avaricious Agamemnon was wonderful, but as he is joined by John Waters as Ulysses, Mark Dickinson as Menelaus and Tod Strike as Patroclus, the song became a masterclass in stage presence. The Greek ensemble was completed with the addition of Ben Mingay adding his brute vocals as a brawling, machismo Achilles. Brian Mannix as the hapless, drunk, Sinon, was pitch-perfect as he delivered the single comic song “Inside Outside”.

The standout performance for me was Kerrie Anne Greenland as the prophetess Cassandra, doomed to see the future but never be believed.

Paris could easily take its place alongside other megamusicals of the 1990s, with its drive, momentum and beautifully-written songs. The quest for the Great Australian Musical seems partially fulfilled with the advent of Paris in a professional production. The audience happily gave the cast and orchestra a standing ovation.

Alex Armstrong Motherhood The Musical Book and Music by Sue Fabisch. The Bondi Theatre Company. Director: Ruth Fingret. Aug 17 - 26.

WHO’D have thought you could stroll along the front at Australia’s premiere ocean beach and come across a gem of

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

a show like Motherhood the Musical? Four cracking girls give their all at the Bondi Pavilion: 20 songs in 80 minutes, covering pregnancy, flabby boobs, leaking tubes and motherhood in general.

Directed by Ruth Fingret and produced by David Spicer, the show packs a punch, perhaps related to the fact that every woman is faced by this dilemma, the certainty that their lives will be changed forever.

Only days before her first baby is due, Amy (Rebecca Spicer) is visited by three friends for a baby shower. There’s Barb (Christie Koppe), Brooke (Manon Gunderson-Briggs) and Tasha (Chloe Angel), and they each bring their story and key song. For Barb its ‘I’m Danny’s Mom’, the only way the world will ever see her. For Brooke, smart and besuited, ‘It’s Not Happening’, the usual comment on her husband’s approaches. For Tasha ‘Every Other Weekend’ tells of her former husband’s regular visits to see their children.

As Amy, Rebecca Spicer is warm and convincing.

Musical Director Mary Lennon sits at a piano stage right, playing beautifully, though she is replaced with a backing track whenever the score requires drums. Daniel O’Shea’s lighting design is, well, extravagant.

Frank Hatherley 9 to 5 the Musical Music by Dolly Parton. Lyrics and Book by Patricia Resnick.

Spotlight Theatre, Benowa, Gold Coast. Director / Choreographer: Jamie Watt. Jul 28 - Aug 19.

AMONGST Dolly Parton’s many attributes is the ability to create catchy, toe-tapping songs and this is very obvious in Spotlight Theatre’s current season of 9 to 5.

Jamie Watt, along with Musical Director Peter Laughton, has delivered a well-paced, high energy production with loveable performances from the three beguiling ladies in the centre of the plot: Rachel Love as the Dolly Parton character Doralee, Tamara Hamilton as single mom, Violet and Tenele Storm Graham as the ditsy Judy. The objects of their collective revenge are Simon Stone, the Boss and his loyal Secretary Roz (Martina French). Jonathon Whitlow and Rodrigo Noel lead the supporting cast in this light-hearted romp through the “white-collar” antics of big business.

This is a frothy, light hearted show and well worth seeing.

Roger McKenzie Ruddigore or The Witch’s Curse!

Music: Arthur Sullivan. Libretto: W.S. Gilbert. Opera Q Production. Director: Lindy Hume. Conductor: Roland Peelman. Choreographer & Assistant Director: Rosetta Cook. Playhouse, QPAC. Jul 14 - 29.

IN Ruddigore or the Witch’s Curse (1887) we are introduced to some of Gilbert’s most bizarre and witty characters - top of the list would have to be Mad Margaret.

It’s a dream role and in Christine Johnston’s hands was the undoubted highlight of the show. It enabled her to display her full comic range, refined after years of playing as one of The Kransky Sisters, stealing almost every scene in which she appeared. She was a star.

But Johnston didn’t have it all her own way, with Bryan Proberts taking feyness to a new level in the dual roles of the meek village swain Robin Oakapple and the cursed Sir Ruthven Murgatroyd. He was comic gold.

Natalie Christie Peluso played Rose, the obsessed with etiquette heroine, with a refreshing layer of spunk, Jason Barry-Smith’s Sir Despard Murgatroyd was a delicious blackhatted villain, whilst Andrew Collis’ picture-come-to-life Sir Roderic looked dashing in a kilt and owned the stage vocally in “When the night wind howls”.

Kanen Breen’s lascivious sailor Richard Dauntless suffered from an impenetrable accent which mostly killed Gibert’s lyrical wit.

Ruddigore also contains one of the most famous G&S comic-patter songs “My eyes are fully open to my awful situation”, which, delivered by Proberts, Johnstone and Barry-Smith, brought instant recognition, hearty applause and the requisite encore.

Peter Pinne Oliver!

Music and lyrics by Lionel Bart. CenterStage. Director: David Mackay. Musical Director: Phil Kearney. Choreographer: Michelle McDowall. Geelong Performing Arts Centre. Jul 14 - 29.

YOU asked for more… more CenterStage Geelong… and you’ve got it, in this colourful version of a classic musical.

Oliver! tells the story of an orphan boy who flees indentured servitude to find his fortune.

Eight-year-old Kempton Maloney (one of the two boys playing Oliver) made his debut in Chitty Chitty Bang Bang in March.

His growth as a performer from then until now shows his ability to listen to feedback and use it to become better.

Maloney came into his own with his solo, “Where is Love?”

He has a gentle, uplifting voice.

Jack Birley as Artful Dodger is a master of his accent and is a consistently strong singer, with a pleasing voice that offers a lot of variety, especially in “Consider Yourself”.

Then there’s Bill Sykes (Daim Hill), a magnificently menacing character. During his first appearance he doesn’t speak, building the foreboding. When his mouth opens and he unleashes his raspy voice in “My Name”, he’s truly terrifying.

Each of the three songs Nancy (Anna Flint) sings, “It’s a Fine Life”, “Oom-Pah-Pah” and “As Long As He Needs Me” are extraordinary performances, with each song stronger than the one before.

CenterStage Geelong has served up a musical with all the right ingredients for a feast, glorious feast, that will delight audiences of all ages.

Daniel G. Taylor Chicago: The Musical Music by John Kander, lyrics by Fred Ebb, book by Ebb and Bob Fosse. Theatre on Brunker and Novocastrian Players. St Stephen’s Hall, Adamstown (Newcastle). Jun 9 - 24.

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Stage Whispers 83

CHICAGO has an unusual subject for a musical, with two women who killed men who treated them badly vying for the services of a young lawyer adept at getting “not guilty” verdicts. But the story, based on real events in the title city in the 1920s and with the writers drawing on that decade’s bright song styles and burlesque elements, was certainly very entertaining in this production.

As the two women are intent on becoming vaudeville stars, director Ron Gillett and his team drew on that performance style’s variety format. The collection of socalled “merry murderesses” in a women’s jail all wore black evening dress as their prison garb, with each having a colourful image on the uniform which suggested her nature. And a judge at a murder trial was dressed like a circus ringmaster, with the prosecutor in a multi-coloured suit.

The delivery of the songs kept the audience riveted, with the groovy opening number, All That Jazz, setting the scene, and Cell Block Tango using the lyrics and title dance style to introduce the women in the jail. Likewise, the showiness of Razzle Dazzle, in which lawyer Billy Flynn (Jarrod Sansom) told on-trial murderer Roxie Hart (Sophie Aked) that she would get the jury onside if she captured their imaginations, was swingingly catchy.

Elissa Shand’s Velma Kelly, a vaudevillian who killed husband and sister when she found them in bed together, was good at manipulating people, and she and Roxie realised in an amusing duet, My Own Best Friend, that they could only count on themselves.

The band, sitting on a platform behind the performers, did an excellent job.

Ken Longworth

expertly embodies 3rd grade teacher Myrna Thorn and reporter Miss Block.

The singing is amazing, under the supervision of Taui Pinker, and the show features strong musical accompaniment from Taui, Christian Ingram and Luke Casserly. Sound is nicely balanced by Alex Coutts-Smith.

Ruthless! is a gloriously larger than life production with extra laughs for theatre folk. Koorliny has a champion of a production with this lovely little musical.

Kimberley Shaw

Beauty and the Beast Jr Music by Alan Menken. Lyrics by Howard Ashman and Tim Rice. Book by Linda Woolverton. Eltham Little Theatre.

Director: John Leahy. Musical Director: Nicola Ramsay.

Choreographer: Amanda Byron. Jul 7 - 23.

ELTHAM Little Theatre’s annual junior musical Beauty and the Beast Jr was another successful production, featuring a nice mix of younger members and others approaching adulthood.

The small stage was well used with a house being rolled on for the street scene and curtains opening to reveal the Beast’s castle. For the opening number curtains down the side of the auditorium were drawn back to reveal more villagers and stalls.

Probably the highlight was the chorus singing. As it was the junior version, there wasn’t as much harmony as I’ve heard before, but it was always confident and in tune.

There was some lovely harmony singing from the servants in “Human Again”.

Belle was played by Rudy Dunston, looking gorgeous and singing beautifully. She developed a great rapport with Oliver Strauss as the Beast. His acting ability shone through Ruthless! as he gradually thawed in her presence.

Book and Lyrics by Joel Paley. Music by Marvin Laird.

Tenzin Fox was a strong Gaston and it was regrettable Directed by Kate McIntosh and Allen Blachford. Koorliny that this version was missing his main song. Maddy Coburn was a delight as his side-kick, Lefou. Being small, Gaston Arts Centre, WA. Aug 18 - Sep 2.

THIS campy homage to stage mothers is a highly had no trouble throwing her around the stage, which theatrical romp, presented in top notch style by Koorliny added to the fun.

Arts Centre.

Ebony Zahra, as Mrs. Potts, did an admirable job of the The set, designed by Kate Macintosh and Allen title song. As the teapot, she had little puffs of steam Blachford, and constructed by Peter ‘Pear’ Carr, featured coming out of her spout, which was most amusing. Guy one of the best interval transformations I have seen.

McGovern was an excellent Cogsworth and Peter Gallagher Costumes (Alexis Kirk and Roz Adey), are clever, consciously a charming Lumiere, with candles for hands. retro, and beautifully co-ordinated. Jon Lambert’s lighting is This was a delightful evening at the theatre. thoughtful and effective.

Graham Ford “Untalented” Judy Denmark, excelling at housework and her role as Tina’s mother, is expertly played by Genevieve Pink Floyd’s - The Wall Newman, making a wonderful mid-show transformation.

Music & Lyrics: Roger Waters. Pannic Productions. Director: Natalie Burbage thrives as mysterious and pushy Sylvia Andrew ‘Panda’ Haden. Redcliffe Cultural Centre. Aug 11 St Croix, in a fabulously over-the-top performance.

13 Bella Freeman is an audience favourite as Tina Denmark, TOP of the range audio visuals and superb musical a young actress with wonderful comic timing and depth backing were the stars of Pannic Productions’ version of beyond her years.

Pink Floyd’s The Wall.

Rachel Monamy is outstanding as cynical theatre critic Conceived in 1977 when major rock bands were Lita Encore, absolutely nailing “I Hate Musicals”. creating rock-opera albums, The Wall was Pink Floyd’s Dixie Johnston is excellent as unfortunate Louise Lerman addition to the genre. The leading character Pink, partly and put-upon personal assistant Eve, while Casey Edwards based on Roger Waters’ own life, looks at a 70s rock star going through a nervous breakdown and reliving his past, 84 Stage Whispers

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

Fame - The Musical.

Photo: Lukeography.

which features schoolyard bullying, a smothering mother, the death of his father, and the breakdown of his marriage.

The role in this production is played by a woman, Maree Butterworth, who brings a ton of angry rock angst to the part as did her co-star Solange Lipcin as the Orator. But although they did fine work, overall vocally the show lacked balls. I’m afraid a cast of thirteen women and only three men just doesn’t cut it. It needed more testosterone on stage. When lead guitarist and band leader Jason Zadkovich took the spotlight mid second-act with a mind-boggling guitar solo it was not only a welcome relief but a blistering shot of adrenaline.

Costumes were basically all-black with a punk-rock aesthetic, make-up was of the glam-rock variety, whilst the choreography was robotic-stomp (think Spring Awakening).

No amount of contemporary allusions spread throughout the piece could disguise its 70s rock roots.

Peter Pinne Fame - The Musical Conceived and Developed by David De Silva. Book by Jose Fernandez. Lyrics by Jacques Levy. Music by Steve Margoshes. Title Song ‘Fame’ by Dean Pitchford and Michael Gore. Birdie Productions. Director: Jordan Vassallo.

Bryan Brown Theatre, Bankstown. Aug 18 - 27.

FROM the moment the screen lifts, the cast of Birdie Productions’ Fame - The Musical delivers a high energy performance. The choreography is particularly tight, while the acting and harmonies are strong.

Fame follows the lives of a diverse group of students as they commit to four years of gruelling artistic and academic work at New York’s High School for the Performing Arts. It explores the characters’ struggles with complex issues including ambition, fame, prejudice, identity, self-worth, literacy, sexuality, drug abuse and perseverance.

The stand out was Lyndall Wennekes as the shy Serena Katz. Her voice was stunning and you couldn’t help but fall in love with her facial expressions.

All the leads had great characterisation and there were some wonderful vocal performances by Zach Selmes as Nick and Daniella Mirels as Mabel and dance performances by Dani Bainbridge as Iris and Adrian Espulso as Tyrone. Tara Barr and Linda Hale were also passionate and fiery in “Teacher’s Argument”.

Choreographer Emma Jarman and Assistant Choreographer Jay Johns did an amazing job of commanding a massive cast (more than 40 people) on a small stage. While it was great to see so many performers in the show, I felt there were too many bodies on stage in some numbers and I didn’t know where to look.

Finally, it’s not often that a member of the ensemble gets a mention in a review, but Marisa Clarke was a pocket rocket and brought great enthusiasm and commitment to her performance. She was such a little ball of energy that even her curls bounced every time she moved and she was a joy to watch!

Shannon O’Connell

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Stage Whispers 85

Heathers.

Photo: Nicola Macri.

Heathers

By Laurence O’Keefe and Kevin Murphy, based on the film written by Daniel Waters. Hand in Hand Theatre. Directed

by Claire Mosel-Crossley, Musical Direction by Krispin Maesalu. Nexus Theatre, Murdoch University. Jul 20 - 22.

HAND in Hand Theatre presented the cult musical Heathers to full houses over a short season at Nexus Theatre.

First time director Claire Mosel-Crossley chose a challenging show for her directorial debut; a director with much potential, she created a stylised, polished production.

Cat Prez was a comfortable, highly competent leading lady, performing her ‘dream role’ Veronica Sawyer. Her improvisation skills are sharp and well-honed (she handled a prop malfunction to perfection) and her singing top notch. Joshua Towns was excellent as dark and dangerous JD, and the duo had top notch presence and team-work.

Kimberley Harris, Kiara Macri and Grace Whitney totally owned the title roles, with nicely nuanced, gloriously ‘very’ performances, as the trio of Heathers.

Rebecca Dilley was likeable and sympathetic as unpopular Martha Dunnstock.

Self-centred jocks Ram Sweeney and Kurt Kelly were played with energy and swagger, by Sean Wcislo and Harry Broun, making the most of their ‘controversial’ duet.

A well-drilled supporting cast worked hard throughout.

Special mention to Alyssa Burton - creating strong characters and shining as Ms Fleming.

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Krispin Maesalu lead an impressive 6 piece band, visible on stage.

Heathers was great fun and very well received by the full -house crowd.

Kimberley Shaw Disney’s High School Musical On Stage Book by David Simpatico. Directed by Lys Tickner and Brogan Smirke. Musical Direction by Tyler Eldridge.

Roleystone Theatre, WA. Jun 30 - Jul 15.

IT is refreshing to attend a packed house matinee, full of excited young people, many presumably having their first live-theatre experience, and to see an energised, enthusiastic young cast on stage.

Matthew Watford played central character Troy, convincing as a basketball player, aspiring singer and young romantic. Mariah Gonzales was a sweet and solid Gabriella.

Loveable villains, siblings Ryan (Charlie Darlington) and Sharpay (Holly Denton), showed lovely teamwork and some impressive song and dance routines.

Ebony Uetake gave an intelligent performance as brainy Taylor, working well with Terence Smith, playing Chad.

Montana Tickner brought a fresh interpretation to composer/pianist Kelsi, Felix Malcolm was loveable as ‘baker with a crush’ Zeke, Liam Tickner landed some laughs as Jack and Connie Wetherilt stood out as unlikely (but talented) hip-hopper Martha.

A hard-working ensemble add colour and fun, although the boys needed greater numbers. Adults Ms Darbus (Tara

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

Oorjitham) and Coach Bolton (Gary Wetherilt) have a lovely rapport with their younger cast-mates.

The set was simple, effective and clean and the costumes (Brooklyn Rowcroft) had flair.

It is great to see theatres embarking on shows with younger casts and for younger audiences. I am sure that High School Musical generated future audiences as well as performers.

Kimberley Shaw

The story is basically a romantic comedy set in Japan.

Central to the comedy is Howard Smith, looking uncannily like Emperor Hirohito, as Ko-Ko the Lord Chief Executioner.

Howard’s forte is comedy songs and he gets through some hilarious numbers, not least of which is Tit-Willow, and Beauty in the Bellow with the talented Amanda Albon. The song Behold the Lord High Executioner, sung by Smith and the chorus, is one of the best numbers in the show. Young Lily Moore plays a cool role, singing her songs as well as acting superbly as the love-struck Yum Yum. Tom O’Connor The Secret Garden is in fine form as Pooh-Bah, the con-man extraordinaire, Book & Lyrics by Marsha Norman. Music by Lucy Simon. while Simon Heaney plays a confused, but love-struck Nanki Based on the novel by Frances Hodgson Burnett. Directed -Poo, the runaway son of The Mikado. Kirsten Adams, as

by Katherine Friend. Melville Theatre, Palmyra, WA. Jun 30 - Pitti-Sing, adds her strong voice to many of the songs, Jul 15 especially the bouncy For He’s Going To Marry Yum Yum. MELVILLE’S The Secret Garden was a simply lovely show. Niilo Gobius plays a couple of roles, but excels as the Christie McGarrity as Mary was a lovely heart for this powerful Mikado. production. With a beautiful presence and gorgeous The chorus members make the show, with endless singing voice, Christie charmed the audience. energy and great choreography. The band under Tyson The Secret Garden is populated by ghosts and Manley’s direction is also in excellent form. memories. Most prominent is Mary’s Aunt Lily, expertly Hot Mikado is certainly a different musical, with modern sung and played by Meesha Williams, but we also met music set in traditional Japan, but it works in a crazy, mad Mary’s parents, the pretty voiced, attractive Rose (Erin way. Director Gill Harrington and assistant directors Ro Craddock) and Captain Lennox (a centred James Massey), Mountney and Karen Mahoney along with the cast and and her Ayah, the lovely Roshni Kaila. crew have successfully produced a very hot, Hot Mikado.

The ensemble had large workloads, playing Dreamers, Ken Cotterill who move the action, and a myriad of smaller roles.

Without exception, they were focused and sang beautifully. West Side Story Harmonies were excellent and the show had a lovely choral Music: Leonard Bernstein. Lyrics: Stephen Sondheim. Book: feel.

Arthur Laurents. Griffith University Musical Theatre Students Excellent teamwork from Ross Burford and Justin Freind, in association with Queensland Conservatorium. Director: as the Craven brothers, playing unspoken conflict with Kris Stewart. Conservatorium Theatre, South Bank. Jul 27 expertise. Also the Musical Director and assistant, they did Aug 5 an excellent job both on and off stage.

2017 marks the 60th anniversary of the Queensland Misselthwaite Manor residents included Mrs Medlock (a Conservatorium and what better way to celebrate than to stern Andrea Van Bertouch), maid Martha (a delightful bring together students from the Griffith University musical Niamh Nichols) and warm-hearted but grumpy gardener theatre course and the conservatorium in a production of Ben Weatherstaff (Rex Gray). Jesse Watt’s Dickon was an West Side Story which also turns 60 this year. audience favourite. Colin Craven, Mary’s crippled and sickly With 90 musical theatre students on stage and almost cousin, was played by Joshua White, looking and sounding 50 musicians in the pit the sound they made in the like an English choir boy.

“Tonight Quintet” was more than thrilling, it was orgasmic.

Single piano accompaniment was ably provided by Lea Courtney Monsma was a vibrant Maria with a sweet Hayward. soprano that managed to scale the vocal heights the role The set was simple, but very nicely designed by George demanded. Opposite her as Tony was Grady Swithenbank, Boyd, with changes artistically performed by the cast. Much who came across as a nice guy, if a little gauche, with solid of the atmosphere was courtesy of very strong lighting vocals. Ebony Banks’ Anita was a Latin spitfire, dominating choices by Don Allen.

“America” and bringing pathos to the “A Boy Like That” The Secret Garden was a lovely night at the theatre. finale. As the peacock Bernardo, Austin Cornish was all Kimberley Shaw cocky strut and one of the few characters who conveyed a genuine threat of menace, whilst his buddy Chino was in Hot Mikado good hands with Elliot Baker.

Directed by Gill Harrington. Malanda Theatre Company.

“Dance at the Gym” with its bluesy hint of rock ‘n’ roll Aug 18 - 27. gave choreographer Christopher Horsey a chance to display HOT would be the best word to describe Malanda the talents of the whole ensemble, who came through with Theatre Company’s latest musical, Hot Mikado, a jazzed-up flying colours. version of Gilbert and Sullivan’s The Mikado. The music is a Finally, what a joy it was to have a symphony orchestra combination of jazz, swing, torch music and bouncy playing Bernstein’s score. Under the baton of Peter Morris ensemble numbers delivered by high-energy performers in they sounded fresh and alive. colourful costumes.

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

Stage Whispers 87

Shrek Jr Book and Lyrics by David Lindsay-Abaire. Music by Jeanine Tesori. Young Australian Broadway Chorus. Director: Robert Coates. Musical Director: Andy Coates. Choreographer: Jacqui Green. Union Theatre, Melbourne University. Jul 12 15.

HAVING seen the film of Shrek with young grandchildren several years ago, I was pleased to take a student with young grandchildren to this production.

As I have come to expect from this company, there was a cast of thousands, with no weak links. Everyone, from quite young to late teenage, was fully involved, and it was a high energy show.

The costumes were amazing! We had all the nursery rhyme characters with amazing attention to detail.

Tristan Sicari was a grumpy Shrek. A large lad, he looked the part and had superb comic timing. Jasmine Arthur was the feisty Princess Fiona, looking lovely and singing superbly.

Of course, the best role was that of the motor-mouth Donkey, and Aidan Khan made the most of this. Lachlan Wolters was very funny, playing Lord Farquaad on his knees. This was another exceptional singing voice. Kristen Robertson was a convincing dragon, her strong voice easily coping with her difficult song.

The chorus singing was sometimes too strong, but exciting. The choreography was tight and the band excellent.

And the judgement of the main critics? The five-yearold: “I loved it all and I loved seeing Pinocchio’s nose grow.

Oh and I saw Little Red Riding Hood, Rapunzel, the GingerBread Man, the wicked witch, the three pigs, and I loved it when Puss in Boots ran across the stage”. The three-yearold: “I saw the dragon and the three bears”.

Graham Ford 70, Girls, 70 Book and lyrics by Fred Ebb. Music by John Kander. Gold Coast Little Theatre. Director: Roger McKenzie. Jul 1 - 29.

“NO good parts for older actors!” - a common complaint, but yes there are - in 70, Girls, 70. This is a Kander & Ebb musical about seniors on a shop-lifting spree to finance a secure place to stay in NY. Because? Well, who would arrest old people? Who even notices old people?

In vaudeville style, Melba and Fritzi (Marlene Blight and Noni Buckland) delivered rousing intro and song’n’dance breaks covering frequent scene-changes to director Roger McKenzie’s simple but effective set.

Harry (Brett Raguse) explained larceny in a difficult patter-song, “The Caper”. Anne Ryan, as Ida, then drove Sadie the shop-keeper (Maria Buckler) mad, and pathos reigned as the cast sang “You and I” while sitting by their broken TV. Gert (Judie Newman) enthused them all with her kleptomaniac song “See the Light”.

Act II opened with a real bang, as retired burglar Walter (Joel Beskin) used too much dynamite. Tears again, with “Go Visit your Grandmother” (Jessica Ng and Marilyn Cullell) and “Say Yes” led by Ida (Anne Ryan). In spite of a 88 Stage Whispers

warning: “We’re old enough to stop the show, talk when we want to, sing when we want to”, GCLT audience found real charm in the cast and their occasionally uncertain antics, all kept together by ‘Hit it Lorraine’ (Mary Walters) on keyboard & Freddie Rutherford on drums.

Eric James La Cage aux Folles Music and Lyrics by Jerry Herman. Book by Harvey Fierstein.

Phoenix Ensemble. Beenleigh’s Pavilion Theatre. Jul 21 Aug 12.

WELCOME to La Cage aux Folles, the hottest nightclub in St Tropez. When the curtain rises, drag queen Zaza (Nathan Skaines) is the star of the show. As the curtain falls, he is Albin, faithful husband to the club’s owner Georges (Adam Bartlett). But will Albin have to take on a third role, when their son brings home his fiancee and her conservative family?

Nathan Skaines was the standout star of the show. His feminine movements, quirky punchlines and off script humour had the audience simply transfixed.

The plot brings endless humour but delivers a moral that we should all accept who we are and never try to change that. With songs including the Iconic ‘I am What I Am’ and showgirl style routines, delivered by men, this show is like no other musical you will ever see on the stage. The supporting cast had an on-stage chemistry which was electrifying, and a particular highlight was Matthew Dunne, who played Jacob. He absolutely stole the scene every time he entered.

Setting the show in a drag club means plenty of opportunity for exquisite choreography and dazzling costumes, particularly on the chorus line who play the drag artists at the club. A special mention in this show to performers Donovan Wagner, Phillip Maas, Darcy Morris, Willian Chen and Michael Redfern who were tucked away little treasures. Darcy Morris was hilarious as Hanna (the dominatrix) and the other performers embodied everything about the Drag style.

Director David Harrison has taken this huge personality of a show and transformed it into a story that will have you shimmying in your seat, to cackling, and back to silence during the serious moments. The balance of a simple set and big costumes makes this production at Phoenix Ensemble one of a kind.

Mel Bobbermien Joseph and the Amazing Technicolor Dreamcoat Music by Andrew Lloyd Weber. Lyrics by Tim Rice, Director: Carmen Heath. Musical Direction: James Bovill. Mousetrap Theatre, Redcliffe. Jul 28 - Aug 12.

THIS musical retelling of the story of Joseph, the favourite son of Jacob, has added flair to the original biblical story. Joseph is sold into slavery by his envious brothers but his ability to foretell the future through his vivid dreams leads to his rise from prison, acceptance by the pharaoh and reconciliation by his suffering brothers. This type of musical, where there is very little spoken dialogue

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

Young Frankenstein.

Photo: Black Photography.

through-out, is far more challenging and Mousetrap Theatre has risen to that challenge.

Carmen Heath, the director, has developed a very good ensemble of thirty performers who maintained the interpretation very well from the introduction with the young performers in the prologue to the final song. She managed the many locations with simple set changes, good movement and very effective representative costumes.

Byron Philp brought the music to life. Critically, the narrator was played and sung by Elissa Holswich, whose voice was clear and expressive. The other key role was that of Joseph, Byron Philp. He looked the part really well with a suitable voice but at times his acting was a little too stoic. Liam Hartley’s presentation as an Elvis Presley Pharaoh brought the house down.

The full house enjoyed the very good ensemble work.

William Davies Young Frankenstein

By Mel Brooks. Gosford Musical Society. Laycock Street Community Theatre, North Gosford. Jul 28 - Aug 12.

WITH book, music and lyrics by Mel Brooks, Young Frankenstein was never going to be anything but bold, bawdy fun, and Gosford Musical Society accomplish this visually with impressive lighting design and costume coordination. Supporting the entertaining atmosphere was

the catchy score, flawlessly delivered by Musical Director David Kimpton and his orchestra.

Director Kerrie Rochford has put Chris Gracia in the driving seat as Dr. Frederick ‘Fronkensteen’, Gene Wilder’s iconic film role. He has boundless, impish energy and it was a shame his tap dancing skills were not put to more use. A plethora of GMS veterans assist him in supporting roles, such as Chris King as Inspector Kemp, Darryl Davis as Harold the Hermit, Sally Loughnan as Elizabeth and Rose Cooper as the ‘horse distressing’ Frau Blucher. Evelyn Luck definitely looked the part as the voluptuous Inga and newcomer Dylan Crawford was endearing as The Monster.

However, it is the manic Igor portrayed by Declan Dowling that is the show’s life force. A creation completely incomparable to original celluloid Igor, Marty Feldman Dowling’s delivery, vocal prowess and strong physical comedy is unmatched.

Vocally the production was solid, a credit to vocal coach Ryan McGreal-Fitzpatrick, though in the acting realm there were some uneven ensemble performances. As is the way with opening weekends there were a few set hiccups and hopefully pacing of scenes and dialogue should pick up over the run. Once these glitches are ironed out, Young Frankenstein promises to be a cheeky, entertaining production that is sure to delight.

Jillian Logan

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Stage Whispers 89

The Rape of Lucretia.

Photo: Zan Wimberley.

Reviews: Opera

The Rape of Lucretia

By Benjamin Britten. Sydney Chamber Opera, Victorian Opera and Carriageworks. Aug 19 - 26.

THE adventurous Sydney Chamber Opera teams with Victorian Opera to stage this famously problematic chamber opera from Benjamin Britten.

Lucretia is a uniquely virtuous Roman wife who is raped by the envious Traquinius, son of the Etruscan tyrant. Her subsequent shame and suicide galvanised Roman outrage in the formative

Parsifal

By Wagner. Opera Australia. Concert Hall, Sydney Opera House. Aug 9 - 14.

WAGNER may have been famous for synthesising all the arts into his operas, but with this concert version it’s a starker affair. The singers stand in a row, the mighty chorus at the back and the Opera Australia Orchestra moves from pit to centre stage.

Here the conductor, Pinchas Steinberg, is the star.

Never mind. At nearly five and half hours (including two intervals) there’s time to dream up Wagner’s fraught and mystical world …and wonder how a full production would dress and dramatise Parsifal’s long musical interludes and expositional storytelling. There’s no chatty Italian recitative here.

Yet Steinberg proves that other Wagnerian adage that all the drama is in the music. He’s exceptional at driving Wagner’s imposing sweeping melodies and marches and yet always pulling back on excess to support exquisite instrumental detail - and the singers.

Director Hugh Halliday gives some drama and costuming detail to the line-up but essentially the singers stand and deliver (as many used to do onstage in the old days). The animation is in their faces if you’re lucky enough to be that close.

Parsifal is a theological complex myth about the theft and reclamation of the Holy Grail and Spear and the guilt, sin and suffering of those desperate for its redemptive powers.

Warwick Fyfe gives full throated villainy as Klingsor whose palace gardens sprout sirens tempting noble knights from the holy search. In his spell, Michelle De Young is deeply moving as the haunted Kundry, forever doomed for her mocking of the crucified Christ.

Michael Honeyman is enigmatic as the weakened king, Amfortas and Korean bass Kwangchul Youn ennobling as his loyal Gurnemanz. The saviour, the messenger of compassion, is the young guileless fool, young Parsifal who is sung with unmannered power by Jonas Kaufmann.

90 Stage Whispers

The night is long, but this Wagnerian journey is a thrilling one, even without the dressing.

Martin Portus

days of its republic.

Britten oddly then leaps in time to the Christian assertion that all pain has a purpose and true faith provides redemption.

This confusion of Roman politics and clumsy Anglican messaging is apparently mocked in this production - and its eight singers on David Fleischer’s clean white amphitheatre set, recalling the judicial forum of a Senate - but I’m not so sure. The opera’s other problem is the foul-mouthed misogyny and violence of Traquinius and his mates.

Assuming that such raw ugliness today needs special framing, director Kip Williams has reversed genders so that the women mime and strut as men while the men behind sing their roles - and vice versa.

Curiously it works sometimes, as a performative comment on power and gender, but mostly its an irritatingly unnecessary device which splices our focus and spoils dramatic impact.

Britten’s score though is astonishingly beautiful and expressive, just as Ronald Duncan’s libretto is rich in character and detail. And conductor pianist Jack Symonds and his 12 musicians give it full force and nuance, as do the singers.

Even with the problematic problem-solving, this is a compelling, inventive musical accomplishment.

Martin Portus The Coronation of Poppea

By Monteverdi. Lyric Opera of Melbourne. Director: Tyran Parke. Conductor: Pat Miller. Chapel off Chapel. Jul 15 - 22.

LYRIC Opera have provided me with many delightful evenings at the theatre, but never with as much vocal talent as was on display in this performance. Just to hear bass Damian Whiteley was worth the price of admission. He has been mainly singing overseas, and one can only hope he has settled back in Australia so that we can hear more of his clean, strong voice.

Also worth the price of admission was tenor Nicholas Jones as Nero. Singing with admirable restraint, as befits an

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

emperor with ultimate power, he sang superbly. He was well matched by Rebecca Rashleigh as a gorgeous and sexy Poppea. There was real chemistry between these two.

Counter tenor Nicholas Tolputt sang beautifully as the overturned lover, Ottone, while Elizabeth Stannard-Cohen was a powerful Drusilla. Caroline Vercoe and Alison Lemoh did well as Ottavio and Amor, while Robert Macfarlane was a strong Fortune.

It was pointed out that this was the seventh opera ever written, so I thought they did an amazing job putting it together. The written music was only a skeleton of what they played and Pat Miller had to decide what instruments to employ and what notes they should play, a mammoth task. He included a piano and harpsicord, cello, guitar, flute and violin, as well as a theorbo, a type of lute. The small ensemble did an amazing job.

The simple set comprised a bed with doors, which could be folded back. This was very effective. The modern costumes worked well. This performance was one of the highlights of the opera season.

Graham Ford La Traviata

By Giuseppe Verdi. Blanke Knochen Opera. Director: Kate Millett. Musical Director: James Penn. 75 Reid St Auditorium, North Fitzroy. Aug 18 - 26.

BKO continues to impress with their innovative direction and committed performances.

Only those familiar with the opera would have noticed that this was a shortened version. Conductor James Penn had done an excellent job rearranging the music.

Surprisingly the ballet in the third act was included, without the traditional ballet dancers. However, this was given quite a different take with the girls flaying the boys with whips! It worked very well.

Once again, Kate Millett did an excellent job with the direction. The performers were very close to the audience, but never dropped character, and the tension was palpable.

For once we had a soprano who looked like she could die of consumption. Ukrainian Rada Tochalna was a vulnerable Violetta, with a powerful voice.

There was lots of chemistry between her and her Alfredo, Patrick MacDevitt. His ringing tenor would have been better suited to a larger venue, but it was a passionate performance. Young Joshua Erdelyi-Gotz became Alfredo’s younger brother instead of father. He has a very promising voice, but perhaps should stick to lighter repertoire at this age.

Finn Gilheany and Stephen Carolane impressed as Douphol and Gastone, while dramatic mezzo-soprano Lisa Lally made quite an impact as the Doctor. The chorus singing was tight.

Projections on the wall, mainly of budding flowers, added to the atmosphere and removed the need for sets.

Having the female chorus as sex workers was a novel idea.

Having the orchestra at the back at the far end from the stage made for difficulties in coordination, though this improved as they went along.

Graham Ford

PERFORMING ARTS MAGAZINE SEPTEMBER/OCTOBER 2017. VOLUME 26, NUMBER 5 ABN 71 129 358 710 ISSN 1321 5965

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DISCLAIMER All expressions of opinion in Stage Whispers are published on the basis that they reflect the personal opinion of the authors and as such are not to be taken as expressing the official opinion of The Publishers unless expressly so stated. Stage Whispers accepts no responsibility for the accuracy of any opinion or information contained in this magazine.

LIMITED BACK COPIES AVAILABLE ADVERTISERS We accept no responsibility for material submitted that does not comply with the Trade Practices Act. CAST & CREW Editor: Neil Litchfield 0438 938 064 Sub-editor: David Spicer Advertising: Angela Thompson 03 9758 4522 Digital production: Phillip Tyson 0414 781 008 Contributors: Merlene Abbott, Brian Adamson, Cathy Bannister, Mel Bobbermien, Michael Brindley, Rose Cooper, Kerry Cooper, Ken Cotterill, Bill Davies, Coral Drouyn, Graham Ford, Peter Gotting, Maxine Grubel, Shelley Hampton, John P. Harvey, Barry Hill, Tony Knight, Neil Litchfield, Ken Longworth, Rachel McGrath -Kerr, Roger McKenzie, Peter Novakovich, Peter Pinne, Martin Portus, Lesley Reed, Lisa Romeo, Suzanne Sandow, Kimberley Shaw, David Spicer, Anthony Vawser and Carol Wimmer.

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Stage Whispers 91

Musical Spice

When I wrote this column two months ago I had sold just one ticket to a planned season of Motherhood the Musical at Bondi Beach from a new theatre company I established with a cast of five.

In the four weeks that followed almost every publicity bullet that I fired missed its target. The local newspaper would not run a story, preferring instead news of school musicals and what was on at the Sydney Opera House.

Even the week before the show’s opening I was convinced that this was going to be a major financial loss and a rather humiliating experience for someone who manages the rights to the musical, but could not even sell more than a few hundred tickets in his own neighbourhood.

Imagine then my surprise when the foyer looked crowded on opening night. A cast member told me she was startled to see so many in the audience. My mobile phone was beginning to ping more often

92 Stage Whispers September - October 2017

Motherhood The Musical.

Photo: Lightbox Photography.

as the ticket service emailed me news of every single booking.

Even people at Bondi Beach and local suburbs were booking. By the end of our Musical and Cabaret season The Bondi Theatre Company had sold almost 750 tickets, and made a profit which was shared with the cast, production team and yes the Producer.

Our most exciting performance was one which was heavily promoted as a babies welcome show at 11.30 in the morning. Into the theatre came a procession of prams. At least 50 babies were cuddled by their mothers. They gurgled and cried at the appropriate and inappropriate times.

A make-shift baby changing area was created. Breasts were liberally pulled out of tops to feed hungry babies. A gay couple who bought tickets and were sitting in the middle of the menagerie of mums described it as an immersive theatre experience.

So what went right? Let me put modesty aside for a moment. I am very good at being extremely pushy. The editor of the local newspaper eventually gave us a run - after a polite but firm phone call from me. Great photos and good social media were also important.

And I am utterly shameless and quite brilliant at thrusting pamphlets into people’s hands. It is not an exaggeration to say I dragged some people into the theatre.

My main target was women with babies. My pitch to them was “we are putting on a musical comedy for mothers there next week.” One woman I approached by accident four times in different places - once at a primary school, another time at the City to Surf, then twice at a local outdoor market. She had already bought a ticket and threatened to hand it back if I came near her again.

Most of the credit though must go to the cast and production team. There is no better way to power ticket sales than to have a show which gets wonderful word of mouth. Great singing, dancing and comedy was the feedback we received.

Our best review came from a Facebook blogging site called Eastern Suburb Mums. “You will be shrieking with laughter,” wrote the critic.

It was also a lovely experience for my family. My daughter had the lead and my wife and mother-inlaw, who are only occasional theatre goers, attended every night.

They became aficionados. Why do Friday night audiences applaud less enthusiastically than the opening night crowd one asked? Another mystery for me was, why do people leave it to the last minute to buy tickets to the theatre these days and give producers palpitations?

David Spicer

www.stagewhispers.com.au Stage Whispers 1