Stage Whispers September-November 2023 edition

Dear theatre-goers and theatre-doers, Recently I realised that I’ve published more than 10,000 reviews on our website since its inception.

Many thanks to our team of volunteer reviewers, present and past, for your enormous contribution to passing that milestone. Stage Whispers’ reviewers often squeeze their reviewing into busy work schedules, or around the productions they are directing or performing in on the community theatre circuit. Others bring years of professional experience in theatre, film or television to their critiques.

If you’d like to join the team, please feel free to contact me at neil@stagewhispers.com.au

For this edition, I had the privilege of chatting to Courtney Monsma (Glinda) and Sheridan Adams (Elphaba), two stars of the new Australian revival of Wicked As a community theatre veteran, and a former high school Drama teacher, it did my heart good to hear them bestowing such heartfelt credit on both of these spheres in building such fabulous careers in musical theatre. Staging school musicals and organising theatre excursions were highlights of my teaching career, so I hope that Performing Arts teachers, reading about the impact of their work, are encouraged to keep up the good fight.

Online extras!

Get a first look at The Dismissal on Stage Whispers TV. Scan or visit youtu.be/wIoJ2fntH4Q

Online extras!

Watch Ben Mingay and Antoinette Halloran in Sweeney Todd. youtu.be/oQ36tfsG3yo

Our special focus this edition is the annual Let’s Put On A Show supplement, featuring articles across various aspects of stagecraft. Articles from this supplement will be integrated into our continually evolving free online publication, also called Let’s Put On A Show, full of tips, resources and articles for anyone involved in community theatre or school productions.

Check out Let’s Put On A Show at stagewhispers.com.au/StageResources.

Our next edition, to be published in December, will showcase our guide to professional and community theatre in 2024. Please let us know about your company’s seasons at stagewhispers.com.au/contact

Yours in Theatre, NeilLitchfield

Editor

Cover image: Sheridan Adams as Elphaba in Wicked. Read Neil Litchfield’s interview with Sheridan Adams and Courtney Monsma, stars of the new Australian production, on page 6. Photo: Jeff Busby.

Elvis: A Musical Revolution’s Rob Mallett catches up on the latest news in Stage Whispers.

Stage Briefs

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Meet the shimmy-shaking cast of Chicago The Musical. Scan or visit youtu.be/9zKgClwKS5Q

Chicago The Musical

It’s the longest-running musical on Broadway, and this scorching hot masterpiece is returning to Australian shores in a new touring production. The cast has been announced and will include Anthony Warlow as Billy Flynn, Zoë Ventoura as Velma Kelly, Lucy Maunder as Roxie Hart, Peter Rowsthorn as Amos Hart and Asabi Goodman as Matron ‘Mama’ Morton.

Chicago The Musical is coming to Crown Theatre, Perth in November, followed by QPAC, Brisbane in January, Her Majesty’s Theatre, Melbourne in March and Sydney’s Capitol Theatre in June.

chicagomusical.com.au

Photo: Juliet Taylor.

Online extras!

Venus And Adonis is a timely story about identity, intimacy and touch.

fb.watch/mGppdAaTqu

Venus And Adonis

Sport for Jove’s Venus and Adonis was released as a feature film in 2020, and this month makes its world premiere on stage. The play, set in 1593 during the plague a distant but all-too-familiar period in which theatres were closed, actors were out of work, and a terrified populace bolted themselves in their homes is about the need to love, the right to speak, and the power of the printed word. It is a passionate cry from the soul on behalf of artists and their eternal value.

Playing at Seymour Centre from September 29 to October 21. sportforjove.com.au/venusandadonis

Photo: Andre Vasquez.

New generations are seeing the Wonderful World of Oz from a fresh perspective thanks to Wicked. Australia’s new Glinda and Elphaba speak to Neil Litchfield about the show and growing up with two different versions of their characters.

Courtney Monsma as Glinda and Sheridan Adams as Elphaba in Wicked

Photo: Jeff Busby.

For several generations we’ve all grown up with the iconic 1939 MGM movie of The Wizard of Oz, forming indelible memories of Billie Burke’s Glinda, the Good Witch of the North, and Margaret Hamilton’s stereotypical Wicked Witch of the West, not to mention her alter ego, Miss Gulch.

But are new generations forming their first impression of these characters based on Wicked, rather than the classic movie.

Gregory Maguire’s revisionist vision of L. Frank Baum’s The Wonderful Wizard of Oz through his novel Wicked: The Life and Times of the Wicked Witch of the West, and the hit musical it has inspired has re-shaped our perception of these characters, taking us back in time to a prequel world (dare I say, an ‘alternate universe’), of their college friendship, where both characters reveal greater depth and humanity.

The Wicked Witch of the West is no longer known by a stereotype villain label; she’s Elphaba, and we love her. It’s only Madame Morrible (rhymes with horrible) who dubs her the wicked witch, during the transformational ‘Defying Gravity’ scene.

Although our latest Glinda (Courtney Monsma) and Elphaba (Sheridan Adams) have both grown up with The Wizard of Oz, Wicked has also been rooted in both their consciousnesses since childhood.

“I first heard Wicked on YouTube, obviously sung by Idina Menzel,”

Sheridan explained. “I distinctly remember being quite young in my living room and Chromecasting ‘The Wizard and I’ karaoke onto my TV. I would sing it over and over, trying to hit it out of the park like Idina does. It’s quite surreal that I’ll be able to sing it on stage in front of a lot of people now.

“My mum and my dad would be listening, and they still love it when I get to perform. My older brother remembers me putting on little dances in the living room in my fairy dress. They’ve always been my number one audience members.

Similarly, young Courtney sang along to the cast recording, teaming up with her sister for the duets.

“We were always playing both characters and now my sister is actually in this professional production as well, so that’s crazy,” Courtney shared. “We would always sing ‘What Is This Feeling’ and all the duets together. I always sang ‘Popular’ at eisteddfods, and even did a song and dance to it when I was a kid. Maybe not ‘Defying Gravity’. I was obviously more of a Glinda even back then.

“I went to the show on a school excursion; the only times I could afford to go to the theatre were through school. Having had the opportunities to go on a bus to the big theatre and sit at the top of the dress circle is a really nice thing to remember while I’m doing these big shows; it’s the spark that

happens when you watch that makes you get to where you are now.

“I grew up on the Gold Coast, where I did many community theatre productions, which I loved.”

Sheridan was also active in school and community theatre productions.

“My first musical was The Wizard of Oz; thank you very much universe,” Sheridan told me. “That opened my eyes up to musical theatre and led me straight into Wicked, so I started singing and immersing myself in the Wicked repertoire when I was 12 or 13.”

“I’m lucky that my high school department and my teacher really believed in me and cast me in leading roles in all my school shows. As I did each musical, year by year, my love for them just grew stronger. From the age of 13 I was doing at least two shows a year. I would do the high school show and my dad would drive me around to rehearsals.”

Both performers share their excitement at where their musical theatre journeys have led them.

“Elphaba has always been my dream role since I was little,” Sheridan admitted, “and I remember thinking, ‘Oh my gosh, I got an audition.’ Just getting in the room was a big deal for me.

“During [the pandemic] a lot of actors wanted to give up; they had that hard conversation with themselves about is this what I want to do? I’m

(Continued on page 8)

(Continued from page 7) Wicked

glad that throughout [the pandemic] I found my love for music theatre, so that when Wicked did come around, I was invested and ready as ever. I also had some auditions under my belt that helped me prepare. There were a lot of magical forces at play that allowed me to be where I needed to be.”

“It feels very meant to be,” Courtney told me. “I’ve been very fortunate to have a wonderful professional career so far, and it feels like it was all leading to this moment. It’s a very iconic show, and on a personal level, with the element of my sister being in the show, feels like some sort of fate.”

When we get a hint that Dorothy has arrived in Oz during Wicked, at that moment Elphaba is a character who we love, yet in the parallel universe of The Wizard of Oz, already she’s looming as Dorothy’s dark nemesis.

“People say how can it be the same person,” Sheridan explained, “and I remember reading that in the original novel, it’s different to the musical. You’ve got to be able to separate each version of the Wicked Witch of the West.

“Gregory Maguire put it that the weight of the world had fallen on her. She was very sleep deprived in the book, which has caused her to act irrationally. She’s a product of her environment and society and finally unfortunately towards the end she gives in in the movie of The Wizard of Oz. But with Elphaba in Wicked, although they’re connected, the objective slightly shifts to make her more relatable.’

Glinda, of course, initially seems to have much more in common with her movie counterpart, even though it’s a far more textured interpretation.

“Seeing The Wizard of Oz as a child is seeing Glinda on such a surface level compared to what I get to learn from her,” Courtney reflected, “but it’s so fascinating, particularly psychologically. You see the choices that she makes and the facade that she often has to have. When she makes those choices, it’s all around the realm of what’s good and bad. It becomes that having to lie about something is what is best for everyone else, and that’s the ‘new

good’. She’s so much more layered in Wicked and you learn her heart, which is my favourite part. On a surface level you can judge Glinda for being ‘Oh yeah, blah, blah, blah’, but then you get to realise the human version of her and that’s really cool.”

So, is a whole new generation of young theatregoers forming their impressions of these characters based on Wicked, rather than the classic film?

“It’s definitely a timeless film, which a lot of children today watch,” Sheridan said, “but with the Wicked movie coming out, with Ariana Grande and Cynthia Irevo, that might play into what you’re talking about. I’ve never thought that maybe for little ones growing up, Elphaba from Wicked might be the first iteration of the Wicked Witch of the West that they’ve seen. That offers a lot of questions about what is wicked, and what is good, and who she really is. She’s not a stereotype, so there’s a lot more to unpack. If I’m people’s first introduction to Elphaba and the Wicked Witch, that would be really crazy.”

But these young performers are by no means over-awed in the way we all were as children. They relish the deeper exploration of their characters and constantly push to understand them.

I put it to Courtney and Sheridan, that Glinda and Elphaba’s friendship is bookended by two wonderful, contrasting duets, ‘Loathing’ and ‘For Good’.

What is this feeling?

Fervid as a flame

Does it have a name?

Yes

Loathing

Unadulterated loathing

For your face

Your voice

Your clothing

Let’s just say I loathe it all.

“Steven Schwartz is a very intelligent writer and composer and lyricist. ‘Loathing’ captures this intense feeling when they first lay their eyes upon one

another and it’s that feeling of loathing, rather than hatred,” Sheridan said.

“It’s special going through that journey, especially musically,” said Courtney. “From being who people want you to be, and then being who you are. I love that you get to go through that journey with the songs.

“With ‘Loathing’, it’s what is this feeling? Sometimes it can feel like hate can be love too. It’s just the uncomfortableness of ‘Why does this person get on my nerves?’ They both interest each other as much as they can’t stand each other. The audience can see that before they know it, but with Glinda, she’s only really nasty when other people are around because she thinks that’s what they want to hear. It’s about her thinking more publicly, and then throughout their other songs, they are more private and that’s the journey that they get to share with each other.”

“Musically, ‘Loathing’ is very staccato,” Sheridan explained. “It’s very on the beat, it’s very passionate, it’s fiery, you’ve got those consonants. ‘For Good’ is the complete opposite. It’s very different stylistically and musically. It’s this beautiful, slightly more relaxed rhythmically composed song where both characters get to breathe, but there is still a huge amount of emotion. You’ve got a song of loathing, but then you end with a song of love. It showcases how they grow, and how they shift, and how they come to change each other for good.”

Like a comet pulled from orbit

As it passes a sun

Like a stream that meets a boulder

Halfway through the wood

Who can say if I’ve been changed for the better?

But because I knew you I have been changed for good.

“It’s been chaotic the whole time. ‘For Good’ is the first real moment that it slows down, just pauses for a moment in time, and it’s like everything

Now playing at Sydney Lyric Theatre.

that they didn’t know how to say comes out,” Courtney added. “It’s very layered, a very emotional moment and it’s just written so beautifully the pace and the lyricism of it.’’

In between, though, both Elphaba and Glinda have wonderful defining songs, in which they share their thoughts with each other. Close on the heels of ‘Loathing’ follows ‘Popular’.

“Elphaba is very much taking ‘Popular’ in,” Sheridan reflected. “It’s definitely Glinda’s time to shine but it is fun for Elphaba to be a part of that. There’s a moment where she lets Glinda in and that’s the birth of the friendship.”

“It’s the first time Glinda makes a choice to stand up for Elphaba,” Courtney related. “She realises it goes well and then she’s like, ‘Oh this is just the beginning, so I can save you,’ which is very, very Glinda. She’s like,

Cover Story

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Join Wicked’s witches backstage as Elphaba gets ‘greenified’. Scan or visit youtu.be/4waeKqzis88

‘You’re my best friend.’ She’s very zero to a hundred. She’s gone from hate to love in an instant. In the moment she just gets carried away with herself, so that’s a special moment for Elphaba to experience as well.”

And how does the music of ‘Popular’ match the moment?

“The fast-paced patter of the song, the style of the song, the length of the song,” Courtney explained. “It’s such a journey. She just can’t speak fast enough and that’s why it’s six minutes. It’s very bouncy and it’s matching exactly what she’s doing her excitement.”

“The song ‘Defying Gravity’ itself is incredible,” Sheridan enthused. “It’s not just the final 30 seconds that I find so memorable and powerful it’s the whole scene and song about 8 minutes of it. I’m really, really looking forward to Robyn Nevin smashing

Madame Morrible’s monologue out of the park, and how that kicks Elphaba into gear. It’s just such a powerful moment in the show for Elphaba to finally hear those words ‘wicked witch’.

“I’m also really excited to fly. When I was young, that moment really impacted me. It’s such a huge moment for both Glinda and Elphaba; they choose their pathways, they make their decisions and they go their separate ways but it is together. Even though they go in opposite directions, they’re still so connected in that moment.

“On top of that it’s probably the best sing in the entire show.”

So, whether you’re a fan of the 1939 movie or itching to get your hands on tickets to this new production or both, the magic will continue. After all, friendship is timeless, and how we see others is always perception.

Sheridan Adams as Elphaba in Wicked Photo: Jeff Busby.

A Broadway classic or a perpetrator of racial stereotypes? With the latest professional revival playing in Sydney, then Melbourne, Nicole Smith looks at the issues surrounding Miss Saigon.

Opera Australia’s Miss Saigon

Photo: Daniel Boud.

The tension is high, not to mention the smell. The heat is on in Saigon...

So go the lyrics of the second song of Miss Saigon, sung by a rowdy ensemble of American marines and Vietnamese officers in a sleazy bar and brothel as they pick which girl from a ‘beauty parade’ they will have that night.

But over the years, the heat on Miss Saigon itself has been particularly intense.

Since its premiere in 1989, the musical has received numerous accolades, winning 70 major theatre awards including three Tony Awards and two Olivier Awards. It has been performed in 15 languages in at least 32 countries and 350 cities.

Yet the controversy over the casting of Miss Saigon stretches as far back as the West End hit’s proposed 1991 New York transfer, when producer Cameron Mackintosh famously threatened to pull the plug on the production just as it was set to open to a record Broadway advance box office.

While the West End casting of white actor Jonathan Pryce (wearing prostheses and a yellow face) as pimp and hustler The Engineer (a character of mixed French and Vietnamese heritage) didn’t cause a ripple in London, even earning him the Best Actor Olivier Award, a storm began brewing in America with a TransAtlantic transfer in the pipeline.

With Pryce and Lea Salonga (from the Philippines) about to repeat their West End roles, thanks to their ‘star status’, US Actors’ Equity ruled that making up a white man to look Vietnamese was “an affront to the Asian community”, asserting that casting an Asian actor would “break the usual pattern of casting Asians in minor roles”.

In the face of strong alternate opinions, even within Equity, that insisting on Asian casting of the halfFrench Engineer was equally discriminatory, along with Mackintosh’s threat to cancel, Equity backed down, the show went ahead and was a hit, with Pryce even adding a Tony to his Olivier Award.

Importantly, times have changed and the casting of this revival reflects the diversity we demand in 2023; however, the show continues to attract detractors on various cultural and social fronts. Miss Saigon has been criticised for perpetuating stereotypes and cultural insensitivity and promoting a narrative that has sparked heated debates. The Vietnam War, a deeply divisive chapter in American and Vietnamese history, has left profound social and cultural imprints.

“One of the biggest reasons [for the criticism] is the negative racialised stereotypes that it perpetuates, particularly about Asian women,” says Erin Wen Ai Chew, a national convener for the Asian Australian Alliance. “A lot of this stems from global conflicts such

as World War II, the Korean War, and particularly for Miss Saigon, the Vietnam War,” she explains. “What Miss Saigon perpetuates is that it says that Asian women are objects sexual objects for American and Western men.”

In the age of cancel culture, Miss Saigon became the target of organised boycotts in the UK in 2022, a flip from its 1989 debut.

2019 Pulitzer Prize-winning author Viet Thanh Nguyen dissected Miss Saigon, the message it sends about West versus East and the picture it paints of Vietnamese people.

“Perhaps those of us who detest the musical would not be so upset if there were other stories about Asians or Vietnamese people that showed their diversity,” he wrote.

Cameron Mackintosh and Opera Australia’s production will undoubtedly leave its mark as it dives into such complex issues, with the show undergoing change in recent years.

In the new version, lyrics and dialogue have been modified or removed to address concerns about cultural sensitivity, racism and sexism that were considered offensive, or perpetuating negative stereotypes, as the musical score of Miss Saigon, composed by the duo Claude-Michel Schönberg and Alain Boublil, also faced its share of criticism.

(Continued on page 12)

Another significant change was in the character of The Engineer. Initially portrayed as a caricature of a sleazy stereotype, complete with prosthetics, the character has been revised to be more nuanced and less stereotypical, allowing for a more human portrayal. There have also been efforts to increase the representation and diversity in the cast. The show strives to include Asian actors and performers in key roles, enhancing authenticity and mitigating issues related to whitewashing.

From the perspective of Seann Miley Moore, leading the cast as The Engineer, “This show is Asian excellence, and this cast is giving SlayAsian pride! Miss Saigon is a story that resonates with so many of us and our families, so seeing all of us together,

ready to tell this story, is really empowering. The spotlight is now on our community, and we are going to own the stage and tell our truth.”

Inspired by Giacomo Puccini’s opera Madame Butterfly (which Opera Australia is presenting in the latter part of 2023), Miss Saigon tells the story of a Vietnamese woman, Kim (Abigail Adriano), and an American G.I., Chris (Nigel Huckle), with Adriano making her mainstage lead debut.

“Abi moved the whole room to tears. I knew immediately that she was extra special as I did when I first auditioned Lea Salonga, Eva Noblezada, Joanna Ampil and Emily Bautista, who were all about the same age,” Cameron Mackintosh said of her audition.

Adriano relates, “Growing up, I would binge-watch clips of Lea Salonga as Kim. As a kid, you’re drawn

to characters you can see yourself in. Kim was that role. Not only because she is Asian like me, but because, in the face of it all, she never ever backs down. Her story of survival, love and war is a scary and deep reality. I’ve grown up with close friends and family who’ve struggled through similar experiences just to be here today and I think that’s why her perseverance is so special for many people.”

Joining Moore, Adriano and Huckle is a cast of 42, including Kerrie Anne Greenland as Ellen, Nick Afoa as John, Laurence Mossman as Thuy, and Kimberley Hodgson in the role of Gigi.

Speaking about the cast, Cameron Mackintosh said, “Our brilliant Australian cast have found the true heart of the story of Miss Saigon and its contemporary resonance.”

Opera Australia reportedly went through a gruelling 6-month audition

Miss Saigon

Joan Sutherland Theatre, Sydney Opera House until October 13. Her Majesty’s Theatre, Melbourne from October 29 to December 3. miss-saigon.com.au

Opera Australia’s Miss Saigon

Photo: Daniel Boud.

process. CEO Fiona Allan had the opportunity to sit in on several auditions. “I was blown away by the exceptionally high standard of the performers,” she said. “I knew then that we were going to end up with a remarkable cast for this new production of Miss Saigon. “What I find particularly exciting is to see this story, now told by an Australian cast, which will really showcase the depth of Asian-Australian talent we have in this country.”

Miss Saigon certainly promises to be spectacular to watch, with its ability to transport the audience into a vividly realised world. The special effects pivotal to creating this experience promise set designs that sweep audiences into the bustling streets of Saigon, along with props and lighting effects that enhance the emotional impact of critical moments.

The Australian production includes a 4-tonne life-sized helicopter landing on stage, executed with precision and realism, further underscoring, we are assured, “the production’s commitment to delivering a spectacle bringing diverse storytellers and nuanced depictions.”

Is this new version enough to keep the controversies that have followed Miss Saigon at bay?

Online extras!

Opera Australia’s Miss Saigon

Photo: Daniel Boud.

Opera Australia’s Miss Saigon

Photo: Daniel Boud.

Cameron Mackintosh introduces the new Australian cast of Miss Saigon. youtu.be/JX5KuDd8RAc

Billie Holiday changed our musical landscape with her cool jazz phrasing and unique vocal style, influencing generations of performers. She was also important to America’s Civil Rights movement, breaking barriers by touring segregated states with an all-white band in the late 1930s.

Mitchell Butel and Zahra Newman first worked together about 10 years ago, and around the same time, they both saw Lanie Robertson’s Lady Day at Emerson’s Bar & Grill in New York. They fell in love with the piece that brings Billie Holiday’s story to life through a single cabaret performance set in a bar in Philadelphia in 1959, just months before the singer’s untimely passing. And they’ve been talking about doing their own version for State Theatre Company South Australia (where Mitchell is Artistic Director) ever since. But when the show’s rights finally became available in Australia, they discovered that Belvoir St Theatre and Melbourne Theatre Company were also keen to see Zahra bring Lady Day to life!

Beth Keehn: Can you explain how you decided on the co-production?

Mitchell Butel: Well, Zahra is a phenomenal talent, so I wasn’t surprised that I was not alone in envisioning her as Billie Holiday. But, because Zahra and I had been talking about this show the longest, the other companies conceded defeat and said ‘OK, you can do it!’

BK: Do you remember the first time you encountered Billie Holiday?

Zahra Newman: I was probably around 16 and trying to listen to the people who inspired contemporary artists at the time so, great jazz singers like Ella Fitzgerald, Sarah Vaughan, and Nina

Simone. I guess I was expanding my musical tastes, and it was probably Billie’s song ‘Strange Fruit’ that stood out; a lot of US political history is intertwined in that song and it’s such an interesting and intense piece.

MB: I found Billie through my sister’s mix tapes! Billie has been a soundtrack through my life and has led me to other great jazz singers as well many heavily influenced by Billie’s sound and phrasing.

BK: Zahra, how do you prepare to embody Billie’s spirit and iconic performance style?

ZN: As much as I can, from watching her, and listening to her music. trying to gather as many resources as I can to tap into. I think it’s a balancing act between honouring who she was as a person and having the respect to try and graciously step into those shoes, and navigating the fact that we are putting on a show. I’m an actor and we’ve got to make creative dramatic decisions about the story that we want to tell in the theatre. I’ve also read the play’s main source, Lady Sings the Blues, the book that Billie co-wrote with William Dufty. I’m also relying on the other creatives in the rehearsal room to craft the story.

Billie spoke a lot about Louis Armstrong and Bessie Smith there was something about those two performers that she was really drawn to so, in a way, we can access her through the performers that appealed to her, and try to find out what those hooks were. And in Lanie Robertson’s script there are about 14 numbers to interpret.

BK: Mitchell, as a director, how do you help a performer capture the essence of another artist?

Lady Day At Emerson’s Bar & Grill

MB: Zahra and I started by working in a very detailed way with (voice coach) Geraldine Cook, to get all those idiosyncrasies of Billie’s voice and dialect and how she attacked language and music. But we don’t want it to be an impersonation; we want to find Billie’s heart and soul. So, often we will focus on what’s right for our Billie at particular moments to capture her spirit. Billie was very much in control of her show and changes to the songs, and her band were often on edge waiting to adapt to her as she rewrote the show on the hop. We’ve tried to capture that improvised feel. I’m loving it. I’ve performed in a lot of cabaret myself, and often you are knocking a show together very quickly, but working on crafting this show for four weeks, even though the format of the show is simple a small stage, a microphone, a performer and a band to be able to concentrate on the performance is really special.

BK: And it’s more than just a jukebox musical, isn’t it?

MB: Lady Day goes into the trials and tribulations of Billie’s life, but ultimately it’s a celebration of her great artistry and musicianship and her connection to a collection of really powerful songs ‘God Bless the Child’, ‘Strange Fruit’, ‘Somebody’s on my Mind’ to name a few. But it doesn’t mythologise; it celebrates her strength and heart. And, because the piece is a 90-minute one-act performance, we are lucky to have an alternate performer and understudy as Billie Elenoa Rokobaro and she’s also a terrific talent in this intense role.

BK: Zahra, tell us about working as Associate Director.

State Theatre Company South Australia (Space Theatre) from August 25 to September 9. Belvoir Street Theatre (Upstairs Theatre) from September 14 to October 15. Melbourne Theatre Company from October 19 to December 2. statetheatrecompany.com.au | belvoir.com.au | mtc.com.au

Lady Day At Emerson’s Bar & Grill will bring jazz legend Billie Holiday back into her spotlight in a threecompany Australian co-production of the Broadway and West End hit. Beth Keehn talks to the director Mitchell Butel and performer Zahra Newman.

Zahra Newman as Billie Holiday.

Photo: Matt Loxton.

ZN: Well, having had some previous experience with performing a one-person show, I think you inevitably end up becoming part of the creative conversations around how the set and lighting and costumes work. You end up having more involvement in the overall production because it’s usually just you on stage. In this show, I have a wonderful band of three musicians on stage, but I’m doing most of the talking. I’ve always found that the best experiences come from when you’re invested and everybody is on the same page about the story you are telling. It means that, as a performer on stage, you have a little bit more ownership and you feel more secure.

BK: Had you worked with your Musical Director, Kym Purling?

MB: No, but I saw Kym a couple of years ago in a cabaret and it was one of those ‘Who is that?’ moments! He is an incredibly experienced jazz pianist and, as it turns out, a very good actor. Kym leads a three-piece band Victor Rounds and Calvin Welch are on stage with him as Billie’s band for the whole show. And they are a super-tight, fiery jazz trio.

BK: Why do you think Billie’s story and songs resonate today?

ZN: When people have been in the public eye, they can be mythologised, particularly if their story has trauma or addiction attached, and Billie certainly had those factors in her life. But I think what’s really interesting about this production is that it presents a picture of a real life. Billie was an incredibly proud woman. There are a lot of references in her book to her resistance to authority and her sense of ‘Why do the boys get to do that and I don’t?’ She deals with the double standard of missing opportunities because she is a woman or by being black. It will be nice to present a more three-dimensional version of her. Also there will be people out there who don’t know who Billie Holiday is and don’t know the influence that she had on the future of music, so I hope we can introduce her to a new audience. But also, some of the things she talks about in the show, some of the things she went through as an African American, travelling through the South with white musicians; the legacy of those issues is

not gone, they are still with us. Billie was a pioneer. She recorded ‘Strange Fruit’ in 1930, well before Martin Luther King, and 20 and 30 years before Rosa Parks and Malcom X. Billie was there and she contributed to that legacy.

MB: On one level it’s a fabulously entertaining and beautiful cabaret show, but it’s also an exploration of what it is to be an artist, and a human in the midst of great challenges. Everyone will leave the theatre loving the music again, but also having a deeper appreciation of the great woman and her influences.

BK: Zahra, you have a great background in musical theatre, but you’ve also performed in comedy and drama, rom-com, Shakespeare. Is there anything you haven’t tried that you’d love to do next?

ZN: Yes! I’d love to try a good action film. Maybe Mission Impossible or Alienssomething in space! Or some horror, I love the horror genre the rollercoaster ride, the buzz and the thrill. It’s a totally different kind of adrenaline rush to being on the stage!

As a teenager, Ash’s fame exploded online during his HSC exams. Now Ash Magic is sharing the stage with international artists and a new form of entertainment.

David Spicer: What does ‘Metaverse of Magic’ mean?

Ash Magic: In the real world, the Metaverse is a virtual world that is run by Artificial Intelligence, and it’s on the internet. But in the show, we take those ideas of this virtual world and scale it up. My character, Lennox, is on a journey to become one of the best

Ash Magic, magician and social media sensation, is leading a new style of interactive magic show where the audience can play with what happens on stage. David Spicer spoke to the 21-year-old, who has been practising his artform since the age of 11 and is leading a national tour of Metaverse of Magic. Metaverse

magicians in the world. To do that he has to go on this journey through the Metaverse of Magic, which will reveal different challenges and obstacles he’ll have to overcome to achieve his dream.

L-R: Jarred Fell, Ash Hodgkinson, Hara Hiroki and Charli Ashby in Metaverse Of Magic

DS: What is an example of an obstacle he must overcome?

AM: There’s this cube, which is a sort of portal and is a key to the Metaverse; like a big fluorescent Rubik’s Cube. There’s one trick in the show, which we’ve been practicing, where I take this cube, squeeze it and it explodes into this massive ball of fire, then I disappear into that ball in a flash and a big puff of confetti.

DS: Is the show still influenced by the great traditions of magic shows?

AM: Yes. To become a master magician, my character must master all the different tricks of classical magic. So, we’ll be diving into different things like close-up card tricks, and some of the big stunts like shooting arrows across the stage and catching them, then bigger stage illusions like cutting people in half, and so it’s cool to build

in those big staples but also doing a unique twist on it and adding some of the cutting-edge technology.

DS: So how do you make the show interactive?

AM: The audience get to interact using their smartphones as much as they want, so, it’s sort of a tailored experience to each audience member. They get to choose how much they interact with the show. If you want a super elevated theatre experience you can play along and while Lennox is on stage, facing these different challenges and obstacles, you can face them as well in the audience and help Lennox overcome them through your phone.

DS: Is the audience giving you instructions or voting for options?

AM: There’s some voting, and there’s different games and puzzles that may show up on the audience’s phones. There’s this cool element where we travel through a portal into the Metaverse, and each person gets it up on their phone, to enter the portal. The whole stage changes and they might be able to launch a fireball on stage.

DS: Composer / actor Eddie Perfect is listed in the credits. How does he fit into the Metaverse production?

AM: He’s one of the writers, so he’s been there for our workshops. That’s a full circle moment, because when I was on Australia’s Got Talent in 2016 he was one of the judges. I was just this tiny little boy trying to do card tricks on stage. I was nervous as hell doing the trick for Eddie Perfect, so it’s cool to come back now, working on the same show.

DS: You’re not going to be sawing Eddie Perfect in half?

AM: Definitely not, much as I would love to.

DS: How did you get into magic yourself?

AM: I started when I was 11 years old. I was with my mother in (Sydney’s) Pitt Street Mall when I saw this guy with a table set up. He had a big crowd of people around him, and just like any curious young boy, I squeezed my way through the crowd and got to the front. He was doing card tricks, and he showed me this trick which I still remember. It

absolutely blew my mind. That night, I went home, searched for every trick I could find, learnt as much as I could, then kept practicing every day.

DS: So how did your magic career take off?

AM: I started learning on YouTube and then one year later I set up a table in the exact same spot in Pitt Street. I busked with friends for a few years, then we met a magician (mentor) who became our director and producer. He invited us to open his shows to warm up the crowd. Then school became more serious through the HSC, and I started posting on TikTok in my spare time. During the big two weeks of final exams, the TikToks I was posting just started blowing up and getting millions and millions of views. I went from zero to a million followers just in that time span.

DS: What were some of your most popular early TikTok videos about?

AM: Hypnosis. I do a lot of card tricks, magic tricks with McDonald’s burgers and cups and straws and stuff.

DS: And are you able to monetise that huge popularity on TikTok? Or is it just publicity for your business?

AM: Both. It’s great publicity and helps you open doors and get auditions, but you also can monetise it through brand deals, like Bunnings will ask me to promote their new Christmas lighting range.

DS: I enjoyed watching your instructional magic trick videos. Are you worried about giving away too many secrets?

AM: There’s so many magicians saying that the art of magic is dying. I feel it’s all about keeping it alive and inspiring new people to become magicians. When I was a kid and I was searching on YouTube trying to learn magic, that’s really what sparked my interest. If it wasn’t for those YouTube videos, I wouldn’t be where I am today, doing this insane show.

DS: So, where’s the show going?

AM: It’s starting in Australia. We’re doing a tour through Sydney, Brisbane and Canberra, and then (there are discussions) about the West End, South America, Asia, the Middle East, all over the place, which is awesome.

Paul Jackson was nominated in the Lighting category for his design of Melbourne Theatre Company’s production of Sunday a fantasy inspired by the stories and myths that surrounded the founder of the Heide Museum of Modern Art, Sunday Reed.

What was the overall look of the lighting that the director asked for?

The lighting design needed to move fluidly between references to actual places like a Toorak sitting room, a bedroom or a lounge at the farm at Heide, and expressionistic sequences that tried to articulate the more ephemeral registers of shared intimate feeling and creative, painterly production.

Why was it important to the story to have this look?

The story of John and Sunday Reed and Sidney Nolan is at the core of Australian Modernism and light is at the heart of all thinking about Australian painting. The play’s aesthetic needed to explore and weigh their significance as cultural figures as well as their fates as highly complex, creative, passionate individuals.

What lighting effects were critical to make this look possible?

The bucolic appeal of the farm at Heide needed to sit in counterpoint to the bold, primary gestures of Nolan’s painting dappled light of the farm and the oak tree versus the apocalyptic, stripped bare look of the Kelly paintings. Soft, golden sidelight in counterpoint to strips of harsh, bold, deeply coloured light.

How did your lighting link in with the set and costumes?

Sunday was a very integrated design process. Anna Cordingley doing set and Harriet Oxley doing costume were very generous in their openness to, and interest in, light. We arrived quickly at a fully integrated palette.

How satisfied were you with the end results?

Sunday was a gift for a lighting designer. Did you have a favourite lighting effect?

Sunday standing in a thin strip of primary yellow will always stay with me.

Anna Cordingley was nominated for her costume designs for Amadeus by Peter Shaffer, staged at the Concert Hall of the Sydney Opera House.

What was the overall look of the costumes that the director asked for?

Director Craig Ilott never asserted a look, per se, rather he sought always to champion the human,

(Continued on page 20)

Brilliant Theatre Design

The Australian Production Design Guild has honoured artists at its annual awards. David Spicer speaks to nominees in the Lighting, Set and Costume categories.

MTC’s Sunday

Photo: Pia Johnson.

the actor, the emotion and pathos in the middle of the volume.

Can you explain why it was important to the story to have this look?

The Hapsburg Royal Courts informed the nature and character of the music, while the politics, hierarchies and behaviours of those courts determined who was in and who was out. It was important to the story to convey something of the excess of these times. Remember that this same Emperor was the brother of Marie Antoinette; rarely has there been a time in history when decoration has been so present, so persistent, so pressing. So communicating the essence of the time was vital, as was finding our own Australian way through those histories.

What material did you make the costumes out of?

Oh, anything and everything. We had many digital prints onto lustred polyesters, sequined and embroidered patches appliqued onto bodices of chiffons and organza, suits made in satins and velvets and brocades. It would be easier to list what we didn’t have on that stage!

How challenging was it as a project to build?

It was a serious undertaking, so ambitious in its scale and without the framework of an existing company / workroom / workforce behind it. Teams all over Australia came to our aid, though. Makers from the north to the south; all the major companies took on a bit to help us make our deadline. It was an extraordinary effort, and

the costume co-ordinators and wardrobe heads were absolute godsends.

How did your costumes link in with the set and lighting?

I had a champion set designer and lighting design team with whom to collaborate Michael Scott-Mitchell and Nick Schlieper and they concocted a sleek, stark series of cascading portals which placed the performers (and their costumes) in relief. Their world was sharp, monochrome and abstract. The costumes, in contrast, could be glittering, sharp and alive, bright and periodaware.

Did you have a favourite costume?

My favourite costume was possibly that of Wolfgang Amadeus Mozart himself, towards the end of his life when he’s worked to the bone, totally depleted and practically poverty stricken. All fragile and sweaty. Fabrics clung. Lines were simple. The blue of the breeches complemented (actor) Rahel Romahn and we could really see him, reach him. Even the oddness of those lines over his mic-pack somehow worked for me; it looked infantile and pathos-inducing. Exactly (I hope) as Craig had hoped all along.

How satisfied were you with the end results?

You can’t help but fall in love with the work that you’re making, and simultaneously see only its flaws and issues! I adored this piece, could watch it endlessly and was extremely proud of the team and all that we achieved.

(Continued from page 18)

Sydney Opera House and Red Line Productions’ Amadeus Photo: Daniel Boud.

Isabel Hudson was nominated for her set design of the Sydney Theatre Company’s Hubris & Humiliation, which was a queer re-imagining of Jane Austen’s Pride and Prejudice

What was the overall look of the set that the director asked for?

The director (Dean Bryant) and I wanted a visual language that was fast paced that would also offer surprises to complement the humour and pace in the play. The play moves through a series of locations, from a Brisbane wedding venue to a harbourside mansion, a city Dymocks and the notorious “Baz Bash”.

We wanted the space to be delicious and submucous, and a space with lightness and surprise. We landed on the concept of a candied magic box ballroom that could flip out and reveal new pieces and surprises to transform the space, filled with gold gilt and hyper-pastel colour to help define locations.

Why it was important to the story to have this look?

It was important to infuse period with contemporary for this play, to support and heighten this hybrid story. We wanted the design to do more than provide a backdrop to the play but to heighten the stylisation of the piece. We wanted a space that could move with ease and that fluctuated like a dance to marry with the fastpaced storytelling and create this whirlwind of story.

What material did you make the set out of?

The set has a CNC parquetry floor that was hand painted by the Sydney Theatre Company Scenic

Online extras!

Explore Isabel Hudson’s set design in this clip of STC’s Hubris & Humiliation. youtu.be/N9UTU5mLHJ8

Department, with freestanding timber walls with a powder blue finish with gold gilded mouldings. We have a series of trucks, furniture and props that are revealed through hatches and doors of the set. There is also a Sydney Harbour miniature with a sea and cloud backdrop made from calico.

How did your design link in with the costumes and lighting?

On this project I [also] designed the costumes. The basis of the stylised world was a contemporary mash up of Regency dress with drag elements. This queer party was the climax moment of the design, where the costume and set sat in the same heightened stylised world. At the end of this scene a giant inflatable wavy man popped out of the floor as another character in the end of act tableau, punctuating the exaggerated image.

At times the lighting design [by Alexander Berlage] was his romantic painting of tungsten light that shimmered with gold gilding. We used wall sconces to sit in the period world but also articulated elements of the set with LED lighting details to help heighten the contemporary scenes.

How satisfied were you with the end set?

The set was realised beautifully by the team at Sydney Theatre Company and worked beautifully during the show. The little surprises were very satisfying, and it was magical to see this space transform with some simple set pieces.

STC’s Hubris & Humiliation

Photo: Prudence Upton.

Claire Atkins.

Photo: Art-Work Agency.

“The Yarts” On Skates

Coral Drouyn talks to actress and artist Claire Atkins about ambitious new musical Roller Coaster a highlight of the Bleach festival.

The late Sir Les Patterson called them “The Yarts” and there are many who believe that an Arts festival is an excuse for undercooked vanity projects and obscure ventures into pretension, adding up to a massive waste of money. All of which makes the success of the Gold Coast’s Bleach festival an anomaly.

This year Bleach presented an entirely new Australian musical, set in a roller-skating rink and called, appropriately, Roller Coaster. The concept was suggested by two skaters, Nadia Sundae and Monie Bones, then shaped by company Everybody NOW. I talked to leading actress Claire Atkins, an exciting performer who created the role of Sam in the show. She’s well known to ABC and Stan viewers and won critical acclaim in Patricia Cornelius’s provocative play SHIT. I asked how she became involved.

“I was quite unexpectedly contacted and asked if I would audition,” she tells me. “The concept sounded intriguing and there was plenty of chance to be part of the creative process, so that was exciting. But then they mentioned that I had to be able to skate, and I had never been on skates in my life or, if I had, it was as a child, and I must have fallen over a lot and blocked the whole experience.”

So, you had to turn it down? I surmised.

“No, not at all,” she tells me. “I’m a believer that anything can be done if you set your mind to it, and the auditions were a month away, so I simply told the producer that by the time the auditions came around, I would be able to skate. And I did. And I got the role! I actually had my first skating lesson on my 50th birthday.”

Claire is one of those people whose entire soul is infused with the arts. When she’s not on stage, she is making ceramics, or composing songs, or making music, or singing and making recordings of her original songs. She just can’t help herself.

“I just have to immerse myself in some form of creativity. I’ve been like that since I was a kid. I was very shy, and not the least bit ambitious. So, it wasn’t a need for attention,” she explains, “and it’s not about earning money, or becoming famous, though I’m not passing judgement on people who pursue those things. It’s that I have to express myself through some form of art; it’s what really brings me to life and feeds my spirit.”

But isn’t it difficult to build a career while living in regional Northern NSW, north of Byron Bay?

“You know what?” she responds, “I’ve got a feeling it’s not as hard as trying to make it in a big city, where you have to hustle for work and be competitive and

juggle a dozen things at once just to make ends meet. I like being in a small pond. It’s far easier to swim, and there’s more time to think about what you want to create. And if people see me in a play one week and then see me at the markets selling my ceramics the next week…or doing a music gig somewhere, well that’s a good thing isn’t it? I don’t really understand the concept of ‘stardom” or status. We’re all just trying to interpret Art in the best way we can, and that means being supportive of each other.”

Local skaters were invited to participate, and several roller-skating clubs turned up to be part of the skating ensemble on stage. The show played three nights at HOTA in August, in the fabulous outdoor amphitheatre, but who knows where that will lead. Claire is there for the experience of doing something creative that she has never tried before.

“Learning to skate at my age isn’t the easiest thing I have ever done. I spent a lot of time falling flat on my bum and pushing myself to get back up again,” she tells me, “but that’s kind of a metaphor for life, isn’t it? Especially in the Arts.”

Les Solomon highlights some terrific theatre he has seen and weighs in on the great self-tape debate.

To Self-Tape Or Not To Self-Tape

COVID-19 started it but the big question is, will it ever end? Self-tapes, as first-round auditions for almost everything, seem to have become normal practice; a performer must submit a self-recorded audition before there is any chance of “getting in the room”. As an agent, I can to a large extent accept it for film and television, even though I don’t like it. Yes, the casting agent can see more people, but actors can also be more easily dismissed. Getting in the room is becoming something of a privilege. Many are asked for self-tapes, but few make it into the room.

What happens to the self-tapes? Do we ever hear back? Sadly, not often enough! They often cause enormous stress as actors manage their way through buying ring lights, setting up, getting an actor to read with them then the big challenge getting the audition through to the right portal, often never really knowing if it has even been received.

It’s a mangled business. A recent survey found that while Sydney and Melbourne actors dislike self-tapes, in other states many prefer them. I wish we could return to the older, more secure system. Actors often don’t take self -tapes anywhere near seriously enough, as they would if they had a time and a place and then (most importantly) some direction from someone in the room to guide them

closer to what was required to make the audition a success.

Self-tapes for TV and film are one thing, but for musicals it’s so, so wrong. How can an actor deliver a well -recorded song with an often hard to follow backing track, with sound that varies and does them no favours, then even worse if they must do a dance tape. Where? In the lounge room, hire a dance studio, a gymnasium?

Some of the best singers and dancers look dreadful in self-tapes. I throw them back to do them again but often the result is sub-par. Musicals must have the actors in the room to get any real indication of ability.

The MEAA has weighed into the issue, but mainly to try and dissuade their use for musicals. Agents were promised it would be strongly discouraged once the pandemic was over, but it is still happening too much as a first round for so many talented people who just aren’t technically proficient.

Will things change? I hope so. I find the success rate for actors required to self-tape in relation to the chance to get in the room has dropped by 40-50 percent. The battle goes on; it is accepted worldwide since the pandemic. It is easier for casting agents, but an awful, distressing mess for many actors.

A Great Actor In A Great Play

Valerie Bader is one of our foremost and most versatile female actors. Everything she does is tinged with a strong understanding of passionate humanity. I spoke to her

With Les Solomon

Typical self-tape equipment.

recently before seeing her superb performance in two highly diverse roles she plays in Tim McGarry’s great new interpretation of Collen McCullough’s Tim, now touring regional centres with the strong hope of a national tour in the next twelve months. Valerie and I talked mainly about the two central characters the neuro diverse Tim and his love of a much older woman, as it develops from a motherly situation into passionate love.

You may remember Mel Gibson starred in the movie many years ago. Valerie and I discussed the whole question of considerable age difference in a relationship and the many young people in particular who are critical of large age gaps. We decided it is all to do with the physical perception of the person, not their actual age. I referenced the Twilight fantasy series of books and films where there’s a hundred-year age difference between male and female characters but it is acceptable because they both look the same age. It was a fascinating conversation regarding a play that is warm, controversial and touching even if still a little buried in ‘70s thinking. Valerie’s tenderness as an actor and as a person does much to bring great wonderment to the production.

An Overview

What an incredible couple of months of theatre going. I can’t remember a time when there was such diversity of entertainment in live theatre and in one instance two productions of a Sondheim classic.

The production of Sweeney Todd by 3rd year graduates at NIDA was epic, original, terrifying (the first time I have

ever been afraid watching this musical), unique, and even gave a different take on the final ten minutes of the show. The actors may not have had the vocal range of more traditional productions, but did they ever make up for it in acting chops. Johanna became a neurotic wild creature, Anthony more dark and dangerous than ever before, and Mrs Lovett a wily business person. The setting suggested was the eighties and Andrew Worboys and his musical direction was mighty!

By comparison, it was hard to enjoy such a traditional production as was offered only a month or so later at the Sydney Opera House, despite expert singing and solid staging. Stuart Maunder delivered a very traditional Sweeney with no surprises. It was polished and proficient, but never terrifying. It very much depended on what Sweeney you wanted. For me, for classics like this to endure they must be re-invented and re-wired to make them fresh for a new generation.

Speaking of rewired, Darlinghurst Theatre Company brought the musical Natasha, Pierre, and the Great Comet of 1812 to the stage for the first time in Australia. Wild, weird and totally all involving, it will go down as among the best productions of the year.

The Hayes did a fine job with City of Angels with a strong cast. It is a long night and there is no doubt the show could do with a bit of a fresh edit, the absolute highlight being the magnificent jazz band wonderful. (Continued on page 26)

Glen Street Theatre’s Tim.

Photo: Branco Gaica.

In The Spotlight With Les Solomon

(Continued from page 25)

Beauty and the Beast returned in a lavish new production that is obviously heading for Broadway; it was great to see it here first. Everything was re-packaged, with new special effects and “Be Our Guest” brought a standing ovation mid show. Rohan Browne stole the night as Lumiere what a unique star.

Billy Elliot got a new production on the Gold Coast and it’s exciting to see the fine work happening up there. My big complaint was that Billy did not fly in the dream sequence in Act Two, which is such a vital part of that show. Deb Krizak gave one of the best versions of Mrs Wilkinson I’ve seen.

Les Misérables was back at Packemin in Parramatta, with a chance to see Daniel Belle and Rob McDougall do their roles once again. A solid production that would have been that much better if the ensemble had underplayed a little more.

Finally, a word on Shakespeare in Love, produced in the unique tiny town of Tyalgum in the Tweed Valley in far north NSW. This was a remarkable mix of community theatre players and strong professional actors doing another NSW premiere of a work that needs to be seen in Sydney.

This production was so unique, so immersive, so strong under the direction of the talented Solar Chapel, that I could see it playing in the city with absolutely no apologies.

The production goes way beyond a community production, helped by the two leads Reuben Loire and Kymrie Henge.

They were superbly supported by four experienced professional actors in Lucas Stokes, David O’Donoghoe, Christian Bischoff and Jonathan Weir (who is about to be seen as Mel Gibson’s son in the new Oz movie Sons of Summer). Watching Weir is like getting a preview of a major star in the early years of what is going to be an extraordinary career.

The evening (complete with two lavish feasts between acts) runs for five hours, yet its awe inspiring, constant humour and activity becomes so involving one leaves, sad to depart from this magic back into the real world. The production has endless humour, tight pacing and elaborate breathtaking staging. It is one of the most exciting nights I have spent in theatre for ages. If people hear about this production, the whole thing could run for years with buses of tourists descending to explore the wonders of the town and the magic of the night in the theatre.

It comes back for a longer season next year and is worth a trip up north to see a fine end to a couple of amazing months of theatregoing.

Shepherd’s Purse Theatre Company’s Shakespeare In Love

Photo: Duke Albada.

The Ring Cycle QPAC, Brisbane from December 1 to 21. opera.org.au/brisbane/ring-cycle

A Digital Ring

Wagner’s The Ring Cycle is considered the pinnacle of opera an epic tale of gods, dwarves, dragons, heroes and a magic ring. For its 2023 production in Brisbane, Opera Australia is replacing traditional sets with seven-metre-high suspended LED screens which will glide around the stage and be part of the choreography. David Spicer interviewed Digital Designer Leigh Sachwitz.

David Spicer: Describe what is happening in each of these scenes and how you realised them digitally?

Leigh Sachwitz: These are all very dynamic scenes where moments of struggle between groups are taking place. The video design in these scenes is about creating movement and progression through time. The first images, for example, are from Götterdämmerung, which represents the season of winter, where this icy setting will slowly crumble.

DS: How is this aligned with the director’s overall vision for this production?

LS: The director’s vision is to generate abstract thoughts and strong emotions from within; that’s why the digital design is rather abstract and can be seen in many different ways. It’s beautiful to leave some imagination for the audience to feel their very individual feelings connected to this amazing music.

DS: How many screens are there in this opera?

LS: There are 23 screens.

DS: What are the advantages of video over hard sets in a grandiose production such as The Ring Cycle?

LS: Well, the first advantage and the main one for me is you can create a more diverse range of images. The video creation is very time consuming, as is a hard set, but we are able to move more with the music and create a visual impact which is very connected to the Wagner story. The idea for the digital set is that we can create many different arrangements with it, and this makes us more flexible. It’s also easier to tour or to change and scale than a hard set.

DS: I understand you have even made some costumes part of the digital effects.

LS: Correct, we created some effects together which are only visible when certain light or video effects happen. Or some of the fabric patterns chosen, like for The Gods, are also recreated in the digital design. It’s fun to be able to

collaborate with all departments and help connect the designs.

DS: How do you integrate digital design into a production without having it become a distraction?

LS: With a deep understanding of the audience, of the music and of the moment; it’s important to know where to include movement and where to just sit with it. That’s the talent that a great visual designer has to have.

DS: Are physical sets on the way out?

LS: Yes, we have reached an age where the departments are fusing on a more technological level. Whatever medium we use we have to start from storytelling and human emotions but, in the end, the opportunities that we have through the sophistication of tech are amazing. If you understand where you are rooted as a designer and know that the audience doesn’t care about what’s behind the scenes but wants to be moved by what they see, then the digital opportunity is huge. I really believe that we can keep opera alive by working in the intersection between classical and modern.

DS: What musical or opera would you really like to work on digitally?

LS: I am doing the one that I always wanted to create, and the vision is to create emotionally beautiful and impactful moments where all other departments fuse together in a timeless wonder of magic. I would also like to create an installation for Madama Butterfly, as I love some of the music.

Set renderings for OA’s The Ring Cycle Photo: Opera Australia.

Study In Ballarat

Ant Crowley and Kim Durban, joint Program Co-ordinators from the Bachelor of Performing Arts at Federation University, describe the unique learning experiences students enjoy at their Ballarat campus.

“The Arts Academy, Federation University, resides in the heart of Ballarat,” explains Ant Crowley. “In rehearsal rooms that look out over trees bursting with autumn, students throw themselves into acting exercises with rigour and abandon.

“One of our former students is the award-winning music theatre performer Josh Piterman.”

“It’s pretty simple, if it wasn’t for my time at the Arts Academy, the detail of the teaching methods and the work ethic it instilled in me, I wouldn’t be enjoying the career I’ve had over the past 12 years,” Josh said.

“The Arts Academy is unique. A regional campus dedicated to performing arts excellence,” Ant said. “Like Ballarat itself, it is a hub of tradition and innovation, skill and

rebellion. Singing, acting, dance, art, design and theatre-making co-exist in a vibrant community of young artists who live and learn together.”

Another former student, Iopu Auva’a, recently performed in Harry Potter and The Cursed Child.

“There tends to be a sense of community, especially when majority of the students are not from the surrounding towns. Everyone gets to know each other on a more personal level and it makes working together much easier,” Iopu said.

“Here at the Arts Academy, we teach our students the skills they need to establish a sustainable and diverse career in the performing arts. We value a community of artists, emerging and established, who use their art to contribute to a

sustainable, ethical world, full of powerful and innovative storytelling,” Ant continued.

Former Acting student Ash

Flanders is now the co-artistic director of Sisters Grimm,

“Developing a new work is a tricky thing, and the Arts Academy students made our work all the better for it with their enthusiasm, wit and diligence. Federation University’s high -performance standard mixing an emphasis on autonomy and proactive attitudes is perfect training for students hoping to work and survive as artists in Australia,” Ash reflected.

“Why are performers important for the world?” asks Kim Durban. “This is a question we have asked auditionees for Ballarat over the years because we think performers are not just important, but essential for enriching our present culture and the future of our world. Sometimes the answer is ‘stories’. Other times it is ‘entertainment’. But like us, no-one has ever said, ‘they are not important’.

“A key statement about artistic life that I value was one I heard from director and performance artist Maud Davey at the AD 2002 Conference in Ballarat.

“The work is the focus; it is not a stepping-stone to other work. This

lays bare the central commitment it takes to choose to be a professional performer, that is, a commitment to The Work. You do the work in our three-year fulltime Bachelor of Performing Arts degree. That work might be improving your skills;

expressing an essential idea through the body, the word or the voice; performing a text from hundreds of years ago; screening or podcasting a new scene that you wrote 10-minutes ago; or collaborating with a multitalented crew to entertain and delight through song and dance. My mentor calls this ‘Serious Fun’.

“A few weeks ago, I hosted a graduate panel and the participants included an actor collaborating on an indigenous project; a performer who had just finished voicing a character in an animated series; a comedy performer and writer who is creating a commissioned screen pilot; and a clown doctor. They are a beautifully diverse bunch of talents.”

If you have that dream, you can develop your passion by gaining industry-relevant skills that build towards a successful creative career. The Arts Academy is a welcoming community of practice. You will learn from a diverse range of industry professionals and performing artists from across the globe.

Entry is by audition.

Find out more and register for an audition at federation.edu.au/arts-academy/study/performing-arts/auditions

Australia’s Fred And Ginger

Treasured archival ephemera underlies numerous stories. In a carefully kept collection of autographed theatrical photographs, once the pride and joy of an avid theatregoer, and now held in the Seaborn, Broughton & Walford Foundation, are glamourous images of the leading stars of Australian theatre in the 1910s and 1920s. Among them is Madge Elliott dancer, singer and actress and Australia’s Ginger Rogers to Cyril Ritchard’s Fred Astaire.

Born Leah Madeleine Elliott in London in 1896, an infant Madge moved to Toowoomba in Queensland where her doctor father found employment, and where young Madge started dancing lessons. Her family’s move to Sydney resulted in her dancing tuition continuing at the Minnie Hooper Dancing School, under the famed ballet choreographer for J.C. Williamson Ltd.

At the age of 15 (although Madge claims 13 and even 11) she was signed in 1911 by J.C. Williamson Ltd to join the children’s ballet of the Melba-Williamson Opera Company.

Following years of hard work on the stage, Madge’s first taste of

dancing solo was in 1915’s High Jinks at Her Majesty’s Theatre in Sydney, and she moved to musical comedy as part of J.C. Williamson’s ‘Exquisite Eight’ ensemble.

Madge Elliott and Cyril Ritchard first danced on the same stage in Going Up, an aviation themed musical comedy featuring a real airplane on stage, which had its Australian premiere on the 2nd of November, 1918 at Adelaide’s Theatre Royal. According to Madge’s serialised memoirs, published in 1935, although she had initially brushed him off on being introduced to the dancing novice and medical school dropout, Cyril won her over with sheer enthusiasm when he was “continually inventing new steps and dance numbers and asking me to join him. We practiced in odd corners…”

By the time Going Up returned from a New Zealand tour at the start of 1919, the pair had devised a new waltz number, which they promptly and excitedly had approved by J.C. Williamson’s Managing Director Hugh J. Ward.

Madge and Cyril debuted their new dance at Melbourne performances of Going Up in April of

that year, and a partnership was born. Madge Elliott and Cyril Ritchard determinedly shook hands and agreed on their own ‘firm’ of Madge and Cyril. Table Talk magazine’s review reveals that the pair ‘created something of a furore in their dance “Memories” in the second act’.

A dancing star, Madge was intent on singing as well, despite a ‘thread of a voice’. A part in the musical comedy Yes, Uncle! presented such an opportunity, as well as establishing Madge and Cyril as ‘something new in the dancing world’. Yes, Uncle! had its Australian premiere at Adelaide’s Theatre Royal on the 3rd of April, 1920.

Critic’s review noted, ‘On this occasion Miss Elliott also appears successfully as a vocalist, and with Mr. Cyril Ritchard sings “I Like Any Girl” and “Think of Me”.’ She followed this success with the role of Chi Chi in the revival of High Jinks in 1920, after which, “People began to pursue me for my autograph, for my endorsement of soap and face creams…”

It was in 1923 that Madge secured her first principal role, the lead of The Cabaret Girl, with a long run quickly followed by a star turn in 1924’s Whirled Into Happiness. The result of many years of hard work and nonstop dancing meant that Madge was exhausted, and she announced to the press her intention to take a holiday to do absolutely nothing but rest. She would travel to America, where Cyril had voyaged that year to try his luck on Broadway, before heading to London.

Such was the demand for photographs once Madge announced she would be leaving at the end of Whirled Into Happiness, that J.C. Williamson Ltd announced the last night of the production on 22 August 1924 would be a ‘souvenir night’. Everyone in the audience would

Selected from a collection of autographed theatrical photographs, Susan Mills tells the story behind these delightful images of a glamorous early 20th century star of the Australian stage.

receive an autographed photograph. On that final night she was showered with streamers and gifts, and farewelled with Auld Lang Syne. A few days later, Madge was aboard the SS Niagara on her way to United States.

Madge Elliott would move to London after a few weeks of holidaying in America, where Cyril Ritchard eventually joined her. A revived ‘firm’ of Madge and Cyril continued their partnership on the stage of London’s Gaiety Theatre. On their return to Australia in 1932 to star in the Williamson production of the musical comedy Blue Roses, their popularity continued, helped by a spectacular public wedding in 1935. Although their careers eventually diverged, they were always affectionately known by the Australian public simply as ‘Madge and Cyril’, our home-grown glamourous dancing pair.

Stage Heritage

Online extras!

Madge and Cyril dance up a storm in London in The Millionaire Kid (1931).

youtu.be/65HdiblFZB0

Stage Sounds

By Peter Pinne

Some Like It Hot (Marc Shaiman/Scott Wittman) (Concorde Theatricals)

Billy Wilder’s 1959 film Some Like It Hot was comic genius. Two jazz musicians witness a mob killing in Chicago, then flee for their lives, joining a traveling all-girl band dressed in drag to escape. A classic. This new version of the plot may not be perfect, but it comes pretty close. With songs by Marc Shaiman and Scott Wittman (the guys behind Hairspray and Smash), direction by Casey Nicholaw, and a revamped plot by Matthew López and Amber Ruffin, it instantly gets your feet tapping.

Moving the story to 1933, to coincide with the end of prohibition, allows the songwriters opportunity after opportunity to create a score that at times mirrors Harold Arlen, with his blue-note harmonies, and Cole Porter, with his sassy list songs.

But the biggest overhaul is in the casting, with the two musos played by Christian Borle as Joe/Josephine and non -binary actor (and Tony award winner) J. Harrison Ghee as Jerry/Daphne. The Marilyn Monroe role is played by Adrianna Hicks, a woman-of-colour, as far removed from the blonde bombshell as you can possibly get, with Kevin Del Agulia as Osgood, while NaTasha Yvette Williams as Sweet Sue threatens to run away with the show whenever she gets the spotlight. As I see it, the casting couldn’t be better.

Standout songs include Hicks’ ‘At the Old Majestic Nickel Matinee’ and ‘A Darker Shade of Blue’, Ghee’s ‘You Coulda Knocked Me Over With a Feather’ and Borle and Ghee’s ‘You Don’t Have Me (If you don’t have him)’. ‘Let’s Be Bad’ has been repurposed from the Smash score as a number with a Latin feel for Del Aguila, whilst the title tune is a Nicholaw tap dance delight.

A 17-piece orchestra plays Charlie Rosen and Bryan Carter’s era-appropriate, and Tony winning, charts. A more traditional version of the story, Sugar by Jule Styne and Bob Merrill, played Broadway in 1972, whilst Wilder’s original movie was inspired by the French film Fanfare of Love.

Online extras!

Pick up the Some Like It Hot cast recording from Amazon amzn.to/3P8UieZ

Kimberly Akimbo (Jeanine Tesori/David Lindsay-Abaire) (Ghostlight Records)

Apart from its regular diet of popular tourist attractions that feature sequins, singalongs, and tapdancing, Broadway of late has offered smaller off-beat musicals that fall into the category of Arthouse Dear Evan Hanson, Fun Home and A Strange Loop. Frequently they take out the top prize and win awards. Kimberly Akimbo is this year’s Best Musical Tony winner.

Based on a play by David Lindsay-Abaire, it’s about a girl born with a rare genetic disorder called progeria. Kimberly Levaco (Victoria Clark) is a 15-year-old whose body resembles that of a woman well into her seventies. Knowing she will not live much beyond 16, she wants to experience everything the world has to offer, including skating, being a model for a day, and puppy love. It sounds like a downer, and it is, with an avalanche of sorrow underlying the material, but it’s also joyous and funny.

Anyone who saw Clark in The Light in the Piazza knows she can deliver the goods, and she does. It is no surprise she won the Tony. ‘Make a Wish’ is heartbreaking. But Clark is not the only standout in this show. Bonnie Milligan as Aunt Debra, a grifter with little conscience, wipes the floor with ‘How to Wash a Check’ and won a Tony for it, whilst Alli Mauzey, as the mother, has a fabulous bluestinged ‘Father Time’.

Online extras!

Purchase or stream Kimberly Akimbo from your music platform of choice ghostlightrecords.lnk.to/KimberlyAkimbo

The initial idea for Shucked dates back to 2015, and earlier, when there was an attempt to get one of book writer Robert Horn’s projects up as Moonshine: That Hee Haw Musical, a stage version of the TV variety hour After stalling for years, then being cancelled due to COVID-19, it finally opened, much revised, in Salt Lake City, Utah, in 2022, to positive reviews. Heading to Broadway, it went on to receive nine Tony nominations, winning one for openly non-binary performer Alex Newell. Their song

Online extras!

Listen to the cast recording of Shucked on Spotify. Scan the QR code or visit spoti.fi/3qPDReo

Shucked (Brandy Clark/Shane McNally) (Sony Masterworks)

‘Independently Owned’ is one of the joys of the cast recording.

The show is set in the rural Midwestern community of Cobb County. Maizy is forced to postpone her wedding when the corn crop is blighted, and, on the advice of her cousin Lulu, the local whiskey distiller, leaves town to try and find a way to save the corn. What results is a countrythemed romp with lots of jokes about corn. Rodgers and Hammerstein it ain’t! The score is friendly, hook-heavy, and sweet. Andrew Durand’s ‘Somebody Will’ and Caroline Innerbichler’s (Maizy) ‘Maybe Love’ have a chance of becoming ear-friendly. Bonus tracks are by the composers, with an acoustic workshop of ‘Friends’ and ‘Maybe Love.’

Camelot (Alan Jay Lerner/Frederick Loewe) (Broadway Records)

Lincoln Center’s recent revival of Lerner and Loewe’s Camelot has spawned an agreeable cast recording. Not as brilliant as the team’s masterpiece My Fair Lady, which preceded it, the work has tended to be overlooked. But it is a more than competent score with some felicitous rhymes and romantic themes.

Based on the novel The Once and Future King by T.H. White, it tells the story of King Arthur, his love for Queen Guinevere, and her love for Sir Lancelot. This new version has a book by playwright-of-the-moment Aaron Sorkin, and is headed by Andrew Burnap as Arthur, Phillipa Soo as Guinevere, and Jordan Donica as Lancelot. Burnap has the

Online extras!

Grab your CD copy of Camelot from Amazon. Scan the QR code or visit amzn.to/3KWAc5e

Online extras!

Josh Groban and Annaleigh Ashford perform “The Worst Pies In London” youtu.be/Ur_71-gZ4QA

acting chops for the role, having appeared in King Lear in 2014, Soo won acclaim for Hamilton, and Donica was a Raoul in The Phantom of the Opera, so the vocals are spot-on. ‘I Wonder What the King is Doing Tonight’ and ‘How to Handle a Woman’ have a youthful vitality, Soo, the nearest thing Broadway has these days to Julie Andrews, mines the olde-worldy cadences of ‘The Simple Joys of Maidenhood’ with charm, and Donica is a worthy successor to Robert Goulet in ‘If Ever I Would Leave You’. He also gets to sing ‘I Loved You Once In Silence’, which has been repurposed in this production for Lancelot. A 30 -piece orchestra is the icing on the cake.

Sweeney Todd (Stephen Sondheim) (Warner Bros)

The glorious sound continues with the recent entry of Stephen Sondheim’s Sweeney Todd at the Lunt-Fontanne. Not since Harold Prince’s ground-breaking production of 1978 have Jonathan Tunick’s superb orchestrations been heard in their entirety. A 26-piece orchestra recreates Sweeney’s razors, Mrs Lovett’s pie-shop, and the piercing whistles of industrial London in all their gory, and glorious, detail.

Josh Groban as Sweeney and Annaleigh Ashford as Mrs Lovett give us one of the best sung versions of Sondheim’s masterpiece. Groban with his quasi-operatic pop baritone makes sure every word is bell clear, and Ashford, with apologies to Angela Lansbury, is hilarious, and a brilliant comic foil. Groban sings the heart out of ‘Johanna’ (youtu.be/8VENxyM0Myg), and ‘My Friends’ (youtu.be/9tKzrrQu-aQ) and ‘Epiphany’ (youtu.be/1QmVjj61bp0) are both chilling, whilst with Ashford in ‘By the Sea’, (youtu.be/2I8GYktqP0E) they become a rollicking riot. The other standout is Gaten Matarazz’s Toby, who sings a haunting ‘Not While I’m Around’ (youtu.be/LUbLazA8BYY). Sondheim has never sounded better. Rejoice!

Online extras!

Stream or download the album from your favourite music service arts-music.lnk.to/TheBalladofSweeneyTodd

Josh Groban and Annaleigh Ashford in Sweeney Todd

Photo: Matthew Murphy and Evan Zimmerman.

Broadway Buzz Online extras!

If New York, New York can’t make it here, can it make it anywhere?

youtu.be/IBhFe3l7oD0

These new editions were coproduced by Didier C. Deutsch and Peter E. Jones, archivist for The Sondheim Foundation, with Ronald Prent (also the mixing engineer) and Darcy Proper (remastering engineer).

A stage musical version of the film New York, New York. It sounds tailormade for Broadway, right? Its title tune, probably the best loved homage to the city that never sleeps, was at the heart of the Kander and Ebb score, which also featured new lyrics by Hamilton’s Lin-Manuel Miranda

But no!

Reflecting on the show’s failure, Les Solomon says, “Based loosely on the movie of the same name, it seems to have been thwarted by an overabundance of sub plots and under-developed characters. I must admit I have thoroughly enjoyed the cast album with fresh renditions of Kander and Ebb songs, including many trunk songs added to the score. But since the pandemic, it seems a show must play above 85% weekly to remain in the tough city of dreams.”

Negative reviews, little success at the Tony Awards despite multiple nominations, and poor box office receipts were, it seems, the golden bullets for what promised to be a quintessential Big Apple tuner. New York, New York closed on July 30, after a run of a little over three months.

As one Kander and Ebb show was limping toward closure, the Museum of Broadway was celebrating 26 years of the legendary team’s hit Chicago with a special retrospective exhibit ALL THAT JAZZ: The Legacy of CHICAGO the Musical, running until September 10. Along with a special

focus on the production photography and ad campaigns throughout the years, visitors got a closer look at artifacts, costumes worn by some of Chicago’s cast members, and even had the chance to feel like a part of the show in a photo activation.

Located in Times Square, on West 45th Street, the interactive Museum of Broadway opened in November 2022, after a COVID-19 induced postponement of its planned 2020 opening.

Still going strong on Broadway, and turning 21 in the West End, the latest Australian revival of Chicago opens in Perth this November.

Sony Masterworks Broadway has remixed and remastered the original cast recordings of Stephen Sondheim’s Sweeney Todd, Company, Into the Woods and Assassins. Believed to be the final recording project that the Tony-winning composer and lyricist consulted on prior to his passing in 2021, the enhanced masters offer an immersive audio experience with Sony’s new 360 Reality Audio and Dolby Atmos.

Sony’s 360 Audio Reality, available via Amazon Music and TIDAL HiFi, apparently sets listeners inside a 360 spherical sound field, amplifying every note and instrument. Dolby Atmos, available to listeners via Apple Music, Amazon Music, and TIDAL, promises more clarity, depth, and space to the music.

Meanwhile, Stephen Sondheim’s final musical, unfinished at the time of his death in 2021, is receiving an $8 million New York staging, commencing previews on September 28 at The Shed in Hudson Yards. Directed by Joe Mantello, with a cast including Tracie Bennett, David Hyde Pierce and Bobby Cannavale, and featuring a book by David Ives, Here We Are is based on two films by Spanish surrealist director Luis Buñuel The Discreet Charm of the Bourgeoisie (Act 1) and The Exterminating Angel (Act 2). The rumours are flying! Are there actually any songs in the second act? Reportedly there are six songs in the first act, including one recurring number.

Though Sondheim had reportedly shelved the project seven months earlier, he was believed to be revisiting it at the time of his death. Here We Are is produced by Tom Kirdahy, Sue Wagner, John Johnson and the Stephen Sondheim Trust. A little over a week prior to the first preview of Here We Are, on September 19, Sondheim and George Furth’s Merrily We Roll Along commences previews at the Hudson Theatre, for its first Broadway revival since folding after just 16 performances and 52 previews in 1981. The show has since had significant re-writes and has frequently found the audiences it couldn’t attract on its Broadway debut. Maria Friedman the directs production, featuring Daniel Radcliffe, Jonathan Groff, Lindsay Mendez, Krystal Joy Brown, Katie Rose Clarke and Reg Rogers. The revival has previously played sold-out OffBroadway and West End runs.

The cast of New York, New York.

Photo: Emilio Madrid.

London Calling Online extras!

Watch a trailer for Old Friends, a celebration of Stephen Sondheim youtu.be/A7ggjqTGIoM

Star-power meets Shakespeare, Sondheim and Simon in the West End over coming months.

London is set to host two productions of ‘The Scottish Play’, with David Tennant playing Macbeth, partnered by Cush Jumbo as Lady Macbeth at the intimate Donmar Warehouse from December 8, directed by Max Webster.

From February 10, 2024, Ralph Fiennes and Indira Varma will star in another production of Macbeth, directed by Simon Godwin, which will play at warehouses in Liverpool, Edinburgh and Washington DC, in addition to London.

Kenneth Branagh arrives at Wyndham’s Theatre on October 21, in a self-directed production of King Lear, staged by the company which shares his name. Jessica Revell will play Cordelia and the Fool, with Deborah Alli as Goneril and MelodyJoyce Bermudez as Regan. The production will also play The Shed’s Griffin Theatre, New York, in 2024.

Sarah Jessica Parker will make her West End debut in Neil Simon’s marital comedy Plaza Suite, opposite husband Matthew Broderick from January 15, 2024 at the Savoy Theatre. This highly successful 2022 Broadway production, directed by John Benjamin Hickey, became one of the highest-grossing play revivals in Broadway history.

Bernadette Peters and Lea Salonga head the cast of Old Friends, Cameron Mackintosh’s tribute to Stephen Sondheim, playing from September 16 at the Gielgud Theatre. The show, which continues until January 6, 2024, is an extended season of the concert of the same name which played (fittingly) at London’s Sondheim Theatre in March 2022. Matthew Bourne and Julia McKenzie direct, with choreography by Stephen Mear.

Kristin Scott Thomas and Lily James will star in Penelope Skinner’s

new drama Lyonesse, directed by Ian Rickson, at the Harold Pinter Theatre from October 17 to December 23. Elaine (Scott Thomas), a reclusive and talented actress, disappears in mysterious circumstances. 30 years later, she finally feels ready to tell her story summoning Kate, a young film executive (James), to her remote Cornish home to assist with her comeback. Skinner has described the play as a ‘flipped’ revenge tragedy, about the person upon who revenge has been sworn, not the person carrying out the revenge.

The World Premiere production of a musical version of Roald Dahl’s The Witches, with book and lyrics by Lucy Kirkwood, music and lyrics by Dave Malloy (Natasha, Pierre & The Great Comet of 1812), and directed by Lyndsey Turner, will play at the National Theatre from November 7, in a co-production with Roald Dahl Story Company. Katherine Kingsley (The

Larkins) will play the Grand High Witch.

Stranger Things: The First Shadow, which acts as a prequel to the Netflix series Stranger Things, previews at the Phoenix Theatre from November 17, ahead of opening night on December 14. The show’s setting is Hawkins, 1959: a regular town with regular worries. Young Jim Hopper’s car won’t start, Bob Newby’s sister won’t take his radio show seriously and Joyce Maldonado just wants to graduate and get the hell out of town. When new student Henry Creel arrives, his family finds that a fresh start isn’t so easy…and the shadows of the past have a very long reach.

Written by Kate Trefry, based on an original story by the Duffer Brothers, Jack Thorne and Trefry, the World Premiere season is directed by Stephen Daldry, with co-direction by Justin Martin.

Bernadette Peters in Old Friends (2022).

Photo: Danny Kaan.

Acting The Australian Way

Paul Parker has released a new guide to acting, tailored for Australians. In this extract, focussed on breathing techniques, he explains his unique approach.

The fact that I grew up in Australia and had experiences as an actor, acting student, director and teacher living here, means to me that the curriculum that I had devised would be Australian techniques.

These are the eight subjects that I teach:

 How to stand and sit

 Breathing through the mouth as well as the nose

 Breath work deep into the body

 Breath work linking in with the physiological connection with emotion

 Breath, thought, image, voice connection

 Chakra exercises

 Emotional exercises

 Dropping in the text layering the text into the body

How are they Australian? I think the best way to answer is to say that the work that I do is both internal and external. In support of this, the work links breath, thought, image and voice. We naturally do these things in life. We breathe, get thoughts, often summon images and then we speak.

Breath And Voice

When I was in acting and teaching training at University, our voice teacher, a woman, used to jokingly say, “I want you all to breathe into and from your vaginas”. She then set about teaching all genders how to breathe down into the body, including into our genital areas.

From my experiences in Australia, there is a huge emphasis on breath and voice training. Questions I have been asked by students over the years include: “Why is breath work so important? How can your ability to breathe deeply into your body affect your voice and ultimately your performance?”

In general, one important difference between the trained and the untrained actor is that the untrained actor often has their breath centred across their shoulders and in their neck, chest and jaw.

They breathe and speak from within their shoulders and the neck. This is often personified by tense shoulders, vein lines on the side of their neck and red faces when they raise their voices, or run out of breath, or get angry.

And this is worsened if they spend too much time in the gym. Especially if they constantly work on their back and shoulder muscles. This type of actor often speaks with a higher than normal or preferred pitched speaking voice.

They often also find it more difficult to display emotion and, most importantly, find it difficult to connect their breath and their voice with their text. This is because they are tensing all their muscles by activating and swelling/ strengthening them, and most likely, they are not aware that they need to breathe down into their bodies.

In support of this, they may not realise that it is harder to get voice resonation from muscles that are tense.

An actor should do this breath work to make connections with their body. Actors do this work to achieve non-resistance. They work with releasing all the habitual tensions that they hold and release those tensions to help facilitate emotional connection and imaginary freedom.

Some questions an actor should ask themselves concerning their voice and breath include:

 What happens in my mind prior to speaking?

 How important is my voice?

 How important is it to work the facial muscles, the tongue muscles, the shoulder, neck and jaw muscles?

 How important is it to work the articulators in the mouth?

 How does working all these muscles influence the voice?

 How does working all these muscles influence the pitch, projection, tone, placement and flavour of the voice?

 When is it best to turn the voice on? Meaning, use its capabilities, its range?

 How to adapt the voice for roles as a working-class, middle-class or upper-class person.

 Do you change your voice for theatre, film and TV use? If so, how?

 How important is it to convey what you’re doing with your emotions?

 How to find your voice. How can we find your voice? Noting and addressing the following: range; emotional content; energy; volume; pitch; how to use the voice for effect; pacing; high, medium, low levels of the use of voice; articulation and diction

 If I improvise, I often do very good work first time with my voice. Why is that?

 How can I layer the work into my body, where I can connect with the words, feelings and attitudes from a script?

 What do we naturally do as a human being regarding breath, thought, image, voice, connection?

Actors should work on the voice, getting it at a level where they can switch it on and off and know at what level they are speaking: low, medium or high. An actor

would speak at a low volume level for a dramatic feature film close-up. Whereas performing a Shakespeare play on stage and projecting to the back of the theatre would require an actor to speak at a high level of volume.

Connecting Breath, Thought, Image And Voice

In life, our mind and bodies work naturally to form and produce a level of breath, thought, image and voice connection.

What this means is: we breathe normally, depending on the situation. We have thoughts in our mind and they are often linked to images and ultimately to our voice, and then we speak.

The actor must work on getting their breath down into their body to help them connect, including to emotionally connect, with their text and their feelings or acted feelings.

Connecting with our text means having the ability to seem like what we are saying is real. When doing this well, the audience really believes that what is going on really is going on and what is being said really is being said.

I cannot stress enough the importance of being able to access as much of your body as possible with breath as this will give you a platform on which to build your connection.

So the actor must work on breathing into their bodies regularly. Below are a few examples:

 Catch yourself in everyday life breathing into the upper part of the body (this could even include as if you feel like you have just completed a run).

 Drop breath in through the open mouth.

 Encourage yourself to drop the breath down into the body. You do this by simply opening the mouth

slightly and trying to breathe into your diaphragm and/or your lower back.

 Spend time on your back on the floor with your knees bent and think down into your body like a bucket dropping down into a well to fetch a pail of water, or water falling down a waterfall.

 Live your life thinking, mouth open and slight smile. The slight smile will make it easier to breathe down into the body as it helps open up the back of the throat.

 Meditate.

As acting begins with breath work, actors should work to release tension from their bodies and open themselves up to breathe the way they did when they were infants. Have you ever seen a newborn baby breathe? The whole body breathes, the whole body moves. Watch a baby’s feet move as it breathes.

That was you once. What happened? Life. Life’s problems, rejections, fears, insecurities, your posture and perhaps behavioural repetitions and physical ailments. All these things affected you and your ability to breathe deeply into the body.

With regular work you should begin to learn to experience emotional connection on cue. This means, by dropping the breath into your body, you will be able to trigger yourself to be emotional.

After a few months you should easily be performing scenes and monologues with emotional clarity and with more honesty.

As actors feel they can cry on cue and feel connected with their breath, they generally feel they have much more of an emotional range to draw on and give as a performer.

Always remember, audiences nowadays want and need to see the characters they watch be vulnerable!

Paul Parker with students at the Australian Institute of Dramatic Arts.

Let’s Put On A Show

Cast members used to be asked to work intimate and hyper sensitive moments out for themselves. Carrie Thiel, a Wellington-based director, fight director, actor and intimacy co-ordinator, told Olivia Greenberg why intimate touching and violence on stage need to be co-ordinated and worked out sensitively.

Johnny Carr and Catherine Van-Davies in Sydney Theatre Company’s Constellations Fight director & intimacy co-ordinator: Nigel Poulton.

Photo: Prudence Upton.

My first actual kiss was a stage kiss. I was 14 years old, and I was playing Liesl in The Sound of Music. Luckily for us, the young man playing Rolf and I were good friends. Being community theatre, we all knew each other and the director was also a family friend of mine.

But I don’t remember there being any process around it. It was just assumed that we would do this thing, and I think we just got on with it. We never really talked about it. Looking back now, and certainly moving forward, I think it’s important that directors, in collaboration with actors, establish why the moment is in the script, and all are given the opportunity to say, “what are we comfortable with and how do we want to tell this story?”

You don’t have to have lip to lip contact to tell the story of love or attraction. There’s a myriad of ways to tell that story, through body language, eye contact, or other types of touch or kiss.

No one should be making assumptions about anyone coming into a creative process. You can’t assume people’s lived experience, sexual or otherwise, based on their age or gender presentation, or what boundaries they may have we don’t know what people are coming in with.

That’s why we have to check in and have a process around these sorts of moments. We need regular conversations. People might be fine with the content, but then they also might discover as they go that they’re not fine, and then feel unable to back out because they’ve already said yes.

When I’m teaching intimacy best practice, I use a version of the five pillars that were established by Intimacy Directors International. These include Context, Consent, Choreography, Closure, and clear, concise Communication which sits before, during, and after all those steps.

Before anything happens, there must be clear communication and everybody must know the context of the story. If you’re asking a designer to design sets or costumes, they are going to take into account many aspects of the script, along with the vision of the director, which will influence their design. It’s the same when we’re blocking any scene. You’re looking at the wider context. You’re looking at the motivations and intentions of the characters to inform the action.

Once you start working with violence or intimacy, lines can get blurred unless there is a structure in place. What’s the context of the moment? What’s the wider story? Where does the moment start? Who’s initiating it? Where and how does it end? You want to have a robust discussion about that and understand why you’re doing the things that you’re doing.

How it is structured really depends on the actors. You might have one actor say, “I’m fine with whatever.” But the other actor says, “I really need this marked out. I need to know the specifics of what we’re doing.” The aim is always to create a safe, repeatable, and effective moment of storytelling.

It’s important that you have these conversations. Many directors are hesitant to actually put time into direct intimate moments, because they either do not have the language for it or are unsure of how to go about it. This is precisely how the role of the Intimacy Director was born. Intimacy Directors can lead this process, identify any power imbalances and act as an advocate for cast and crew, while choreographing moments that sell the director’s vision. I always ask directors what their nonnegotiables are. If they have a particular vision, what are the things that they absolutely must have?

Things like if actors must have lip to lip contact or if they have to be fully or partially nude . Those are the things that actors need to know before they even agree to doing a role.

Often actors are left to figure out those moments for themselves. Which can lead them to feel anxious because they don’t know what is required of them, what exactly the scene will entail, how long it will take, etc. If there are no parameters and we are not talking about how the moment informs the story, then they can be left feeling like their own sexuality is on display, or even that they are being taken advantage of.

This is what happened to me as an actor, which led me to retraining as an Intimacy Director a few years ago. After many years working behind the scenes as a performance and fight director I got back on stage myself, and I had to play an intimate moment with a fellow cast member.

We were only a week away from opening and we had never rehearsed or even talked about this moment not even the broader context/scene. I finally said to the director, “What is the expectation here? What are you planning?” To which they replied, “You can go work that out for yourselves.” Sending two actors to privately work out a moment of intimacy for themselves is simply not a professional or appropriate practice, so I sought some

(Continued on page 42)

Opera Australia’s Miss Saigon Photo: Daniel Boud.

help from colleagues that were doing this work at the time, and now, after training as an Intimacy Director, I have a robust practice to help others with scenes like this.

I approach intimacy directing in a very similar way to fight directing. I create a risk assessment, break down what I’m seeing in the script and talk to the director about their vision before sitting down with the actors. Ideally I am brought on at the same time as other members of the design team, so that we can work collaboratively and communicate throughout the design and rehearsal process. The worst thing is when (and this has happened so many times) directors make assumptions that an actor will be fine with a particular thing, and then discover that, no, not at all. My main rule is don’t make assumptions.

We’ve heard stories now of people that very much felt taken advantage of, and coerced into doing things that they would have otherwise not said yes to. As actors, we are often trained to say “yes”, but I think it’s important that somebody is there to help people express their boundaries and choreograph action that is going to best tell the story.

Early on in my career as a Fight Director, I would create choreography, then pass it on to whoever I was working with. That’s an inappropriate thing to do in intimacy because we want to ensure actors work within their personal boundaries to find the appropriate action for their characters.

I have adapted my fight directing with this in mind as well.

Intimacy Directors aim to facilitate a space where people feel confident to voice an authentic “yes” or an authentic “no”, creating a safe emotional and physical space for people to be brave and creative.

We are not mental health professionals. Many intimacy directors come from movement, acting and directing backgrounds. While we have a lot of awareness and training around mental health, we don’t work as mental health practitioners. It’s also worth noting the importance of the stage manager, or a production manager, who is present for all the rehearsals.

Your stage manager would be taking the notation and running those rehearsals, and running a call before each rehearsal and show. Just like you would have a fight call to review choreography before each show, this gives a chance for the actors to check in and talk about things like, “Hey, how did that go for you last night?” So actors have an opportunity to say, “I felt like we rushed this part,” or, “Today I don’t want to be touched in this place. Can we adjust it?” It also gives the stage manager an opportunity to note any discrepancies in the choreography.

Communication is key at the beginning, middle, end, and all throughout the creative process. If everyone is on the same page, you will have a more enjoyable experience.

Photo: Chelsea Hideki.

The Hunchback Of Notre Dame

How do you stage a musical which has Quasimodo swinging down from Notre Dame? The Blackout Theatre Company rose to the challenge to stage the NSW Premiere of The Hunchback Of Notre Dame musical, a production described by Stage Whispers reviewer Nicole Smith as “Five star entertainment”, daring her readers to “see just how damn good community theatre can be”. Directors Ciewern Newell and Luke Quinn recall their journey to the stage.

The first part was getting the “Yes”.

“I have been applying for five years straight and never heard back. Six months after another application was sent, we got an email saying: ‘approved’. Then there was this feeling of being overcome with ecstatic and looming fear can we pull this off,” says Luke Quinn.

One emergency meeting later, the committee agreed to bump the next round of shows which were locked in, in favour of Hunchback

Immediately the focus turned to the design. Hunchback is a staple

around the amateur scene in the northern hemisphere, but elsewhere it has rarely been seen live. A daunting challenge was how to fit the facade of Notre Dame into the Pioneer Theatre with its 4.5m roof.

Long-time committee member John Hanna birthed what became the design. A two tier set with the famous cathedral arches framing a 10 metre 4K LED screen with just enough space below to fit a choir.

“When Luke and I saw the set, it was instant love fusing technology and the grandeur of Notre Dame, allowing the scenes to come to life

and transition from one part of Paris to another,” says Cierwen Newell. The rehearsal materials had arrived, and it was even more overwhelming. The 129-page production handbook which Disney prescribes is an astounding resource. It gives absolute detail on every reference, every source material, every character, every required prop, special effect and more.

The script is not so prescriptive and requires the director to assign lines to

(Continued on page 44)

Director’s Diary

Blackout Theatre Company’s The Hunchback Of Notre Dame (2023).

Photo: Maria Gorelik.

the ensemble, which is an arduous task.

We started simply by giving the ensemble lines to the core congregants, hoping to distribute them fairly, although this meant needing double the number of mics.

The show demands a large cast with classical vocal skills and the ability to shape a scene with their presence and storytelling. We split the large ensemble into three factions: congregants, gypsies and choir. This allowed the three factions to hone their strengths without compromising their role.

The congregants are the storytellers of the scenes, the gypsies are the life and energy on the stage, and the choir is the cornerstone of the Alan Menken and Stephen Schwartz’s score. This did provide its challenges with integrating the cast as a whole unit; we were determined to make this cast a family.

Once we were ready to start blocking, it was exceptionally

challenging to work simultaneously with the number of bodies on stage, allowing everyone their moment.

“Cierwen came up with such a straightforward medium of using pegs with the cast’s photos on a small table, and we blocked them into position to give us our bearings,” says Luke.

We would call each other at the start and end of each rehearsal, briefing and debriefing each scene until we found our groove once we started knuckling down with the cast about their role in the show.

Act 1 was problematic, as sustaining the audience’s investment for such a prolonged duration was hard. Four of the six big numbers are in this act, including the 12-minute intro, ‘Bells of Notre Dame’, the penultimate ‘Out There’, the spellbinding ‘God Help the Outcasts’, and the best villain song of all time, ‘Hellfire’. Between these big numbers, we initially struggled with ‘Top of the World’ and ‘Tavern Song’. Something wasn’t clicking. ‘Top of the World’ is

essential in showing how kindness can change a person’s outlook on life.

“We re-blocked this scene three times, and it ended up being my favourite scene in the entire show by the end,” says Luke.

‘Tavern Song’ features the most prominent dance number in the show, showing the Romani people’s experience. Even though they were suppressed and “outcasts”, they are portrayed with a positive outlook on life, in all their adversity, and gave so much love and laughter to their scenes; we initially struggled to convey this.

The stagecraft was intense, needing to convey heights with cast placement while working with levels of stairs, with a sense of depth in Notre Dame and travelling through Paris.

The stage directions call for a fire across Paris, with Quasimodo swinging down from Notre Dame to rescue Esmeralda in one fell swoop off a burning pyre. We achieved this through the congregants narrating the lines directly whilst Quasimodo

Request a perusal or apply for the rights from MTI mtishows.com.au/the-hunchback-of-notre-dame

was off-stage. When music reached a climax, he fended off the cathedral guard to rescue Esmeralda in a welltimed, choreographed fight scene.

For the fire in Paris, we used custom made hand props of LED fire torches in combination with projections on screens masked by the façade of Notre Dame. Scenes visited earlier were now charred, smouldering or even still on fire.

Intimacy and trust between the cast is a must, with love versus lust being a core theme. ‘Tavern Song’ has many intimate moments, with a passionate kiss between Esmeralda and Phoebus, which lasts for nearly half a minute, very awkward to block at first blush.

Multiple battle scenes take place and demand even more trust between the cast and crew, with swords sometimes wandering off from the props table because of how fun it was (a good stage manager is screaming at the thought of this).

There is also the very confronting scene titled ‘The Assault’. The moment where Frollo attempts to sexually assault Esmeralda in his lustful rage. Both actors, Joshua Rogers and Dylan-Hayley Rosenthal, were incredible to work with, and trust was no issue. This scene solidifies the show’s stakes. Frollo is the monster.

We planned on much revision, but we only managed to get three nights of it due to the amount of material to learn. It was glorious once we began running the show in its acts roughly three weeks from opening, watching the cast stop thinking, be in the moment, and enjoy.

Sitzprobe came, and we were crying at how compelling the score and music were to hear live. There were collective ‘Oh My’ moments amongst the cast and crew during Matt Herne’s (Quasimodo’s) incredibly powerful numbers.

Once we got to the bump-in, hell broke loose (as it always does) with the intricate technical designs and challenges. Construction of the set and technical elements presented many challenges when first installed.

Redesigning the location on the go to adjust to what wasn’t right while re-blocking to adjust, plotting lighting and sound, and getting the cast used to the space felt like it had control of us, and we were at its mercy.

We would be on two hours of sleep, arrive at the theatre at 9am and go home at 11pm each day until managing to wrangle back control two nights before we opened with such a sense of relief that the show was ready and everything everyone had created was so worth it.

Blackout Theatre Company’s The Hunchback Of Notre Dame (2023).

Photo: Maria Gorelik.

The Hunchback Of Notre Dame

Social Media Marketing Strategies

Marketing can often be one of the most challenging jobs to get right for theatre groups. The biggest issues are a mix of the sense that “We all know how to post something on Social Media”, the rotation of people as committees and time commitments change, and how often there’s the biggest focus on promotion, without getting people all warmed up to buy tickets first.

As a marketing coach, I often recommend that theatre companies take time to create a strategy that can work through the changing hands of the team, and help create consistency.

Keep your colours and branding consistent. I love colour and fonts, so I’m all good with a little chaos! But you need to have clear rules about what fonts, and what colours you’ll use. I recommend having a theatre Canva account, and putting some of that all-important budget into having the pro version so you can use it to store your

brand colours and fonts in there to make everything more consistent.

If you’ve got a designer in your team, get them to make you some templates in Canva. These can help take your content to a new level and make it less stressful for whoever’s in charge of the marketing.

Embrace video! Video helps you reach past your current audience and you can grow your audience. Get your teams to sing trending audios, do some funny voice overs and dance to show what you’ve got!

If you’re not sure you have anything interesting to post, I want you to think about all living more like goats in trees! I’m not sure if you’ve seen the photos of the goats in trees in Morocco (it’s worth a Google), but I am captivated by them! They are doing something I think is so cool, and different!

Here’s the thing. They’re just being themselves. They’re going about their day, doing their tree climbing and leaf chewing thing, staring out into the shimmering light surrounding them, and they don’t think, “I’m doing this so people will love me!”

People love the little stories, the little events, the moments, and images that help feel they are part of our stories. So don’t worry if your post is just about another rehearsal, or a costume fitting, or perhaps a meeting about lighting. People will love it. Because you’re a goat, in your tree, and they are here for it!

In my book Be a Spider, Build a Web, I teach that we want to build a sticky web with our social media content that helps people come, stay and want to buy from us. To do that we need to drop back on content that’s heavily promotional all the time, and include posts that help people build a hunger to buy those tickets, or even sponsor us. That’s the kind spider way.

Marketing guru Rachel Klaver explains the best ways for theatres to market themselves on social media.

What your content plan needs to include:

1 2 3 4

A really clear outline of the three or four core values of the theatre, and how these are lived and breathed in everything you do. This helps anyone creating the content to make sure it’s in alignment with the content. For example, you could have “inclusive”, and then you need to check if your content is demonstrating this.

A clear and consistent posting plan. One of the biggest mistakes is ramping it up on promotional posts, but not having posts that help people more naturally interact with your content in between these posts. There’s also a feast or famine in posting schedules. I normally recommend using a social media scheduler, and choosing your frequency and then sticking to it. It can be three or more times a week, but posts should be published around the same time every week.

The plan also needs to have a range of content. Yes, to upcoming notices about your next show! But add in behind the scenes images, photos of the cast and crew, taking people on a journey. You can also give up history or facts about the show. If you’ve sold sponsorship postings as part of your offer, then have a set “Sponsor time” every week so you can plan and schedule these in advance. You can also choose a time to profile a cast or crew member, and introduce them to everyone. All of these posts bring in the human aspect and help people feel more connected to your whole journey. I recommend having set days for each type of post, to make sure you get the right split.

Make sure you take time to create some posts about frequently asked questions. These can be easily reused with a little tweaking for each show. They could include where to buy tickets, what time people should get to the theatre, how to sponsor your company, and perhaps how to become a part of future shows.

Rachel Klaver.

Home, I’m Darling

Director Jude Hines takes us through the challenges and rewards faced during the ambitious staging of Home, I’m Darling for Therry Theatre at Arts Theatre, Adelaide.

Award-winning British playwright Laura Wade’s Home, I’m Darling is one of the gems of theatre that was dealt a cruel blow by COVID-19. Written for much loved actor Kathryn Parkinson, it was extensively workshopped by Theatr Clwyd in Wales, opening in 2018.

It moved to London, promptly winning two Olivier Awards, one for the Best New Comedy (2019). Within months, theatres went ‘dark’ all over the world and consequently, the run of this brilliant original comedy was cut short. Scheduled by both Melbourne and Sydney theatre companies, it just squeezed in for 2020 in Melbourne and was shelved until 2021 in Sydney, when theatre gingerly returned to our stages.

As a director, I regularly check the West End and Broadway for new and

interesting plays and this captivating, amusing and often visceral play resonated powerfully with me as both a woman who works, and a mother.

The writing is explicit and powerful. Sentences with no full stops create dialogue that tumbles without pauses, the conversations are rich and often pithy and the post WW2 journey of women is a timely reminder that everything that both men and women have achieved is hard won. Amidst this is a love story where a couple, Johnny (Stephen Bills) and Judy (Alicia Zorkovic, who is in every scene) opt to live the life of the ‘50s in their perfectly pastel, Barbielike house. I was ‘hooked’, and a three-year quest to work with a company who believed in this very provoking play enough to gain amateur rights was my challenge.

Therry Theatre celebrates 80 years of community theatre in 2023. It has been the training ground for television, theatre and international stars including Brian Wenzel from A Country Practice, Hugh Sheridan from Packed to the Rafters and renowned producer Robert Stigwood. It’s run completely by volunteers, many of whom wear several hats, including award winning Lighting Designer Richard Parkhill. Unlike other Adelaide companies, Therry has a 10-man team, many retired specialists in other fields, who construct the set at the start of rehearsals, thus ensuring that the cast rehearse on the set, allowing workshopping and workable blocking.

The fantastic ‘50s ‘wallpaper’ and checkerboard floor were, in fact the work of Mark Rogers, retired nurse, now book illustrator, who hand painted both. The two-storey set was ambitious, expensive and quintessential for Johnny and Judy. And so, Home, I’m Darling became the perfect play to celebrate Therry’s 80-year journey and contribution to South Australian theatre.

Director’s Diary

Therry Theatre’s Home, I’m Darling (2023)

Photo: Andy Trimmings.

After gaining the rights, plays take many months in the planning, and whilst we had auditions in January 2023, over the months of preparation, for many reasons, I had a 50% cast turnover before rehearsals began. This turned out to be serendipitous because audiences are clear that all six characters are beautifully drawn and convincingly portrayed.

Prior to beginning rehearsals, each actor discussed their vision and background for their character, and to support becoming a ‘50s person, girls were given rehearsal stockings and rope petticoats, and the men explored handling hats.

Because this is such a visual show, Adelaide costumers Gillian Cordell and Sandy Faithful began the process by researching the looks and styles of the eras of this play. Gillian researches and sources costume gems; Sandy loves to sew, obsessively ensuring that actors feel and look good in clothing to support them in giving their best performance.

Seemingly joined at the hip, both love those aspects, and for this show, scoured Therry’s wardrobe department, Op Shops, private collections and, using 1950’s paper patterns, created beautiful gowns that looked brilliant on the actors and against the set.

To complicate their task, the play has two characters who live in the ‘50s (Johnny and Judy), two who live in the ‘now’, but flirt with the look and lifestyle of the ‘50s, Fran (Jessica Corrie) and Marcus (Adam Schulz), and two powerful women, Alex (Lani Gerbi) and Sylvia (Deb Walsh), who put the rabid into feminism, each epitomising strong, powerful modern women. The result was three different costume styles that meticulously supported the story. Our local daily paper commented, ‘Costumes from Gillian Cordell and Sandy Faithful are sensational.’ They were ‘chuffed’.

Set Designer Gary Anderson was clear from the outset that his greatest opportunity was creating an additional ‘character’, a set that transported the audience into the feel, style and detail of the 1950s. As early as January, he sketched a twostory English house that was perfect to allow Johnny and Judy to be a real couple who could create and live their perfect fantasy.

It was to be where Johnny was her ‘rock’ (rather like her idol Rock Hudson), and she, channelling Doris Day, could make perfect canapés, create soothing cocktails, and welcome him home, his slippers ready at the door, into their perfectly clean and decorated home. Gary commented that the usual challenge

Home, I’m Darling

Request a perusal or apply for the rights from Origin Theatrical origintheatrical.com.au/work/12585

for non-professional companies is always budget, and so he trawled Op Shops, markets, on-line sites and friends’ homes to gather the vinyl chairs, breadbins, Laminex topped kitchen table, mustard green china cabinet and other bric a brac to build his ‘50s set and Judy’s perfect ‘doll’s house’.

Ironically, it was Lani Gerbi, who plays Alex, a very successful emancipated female Real Estate Manager, who opted to knit the Dolly Varden teapot cosy! A local critic described the set as ‘mind-boggling’ and a number of audience members queued to photograph the ‘50s memorabilia and the hand painted ‘wallpaper’.

I bordered on losing my sense of humour when it came to Properties, and fortunately started collecting things back in February. This is a play about ‘50s behaviour and culture, thus, it felt like endless cups of tea and eggless cake, made by me (as one cast member who has to eat cake is allergic to eggs), cocktails, salt dough devilled eggs and meat and three veg meals were crucial parts of the story.

Detailed photos of every setting in situ ensured that each piece was preprepared and in place. Note to self: look at the Props list before reading any more plays. Three teams, including cast, rotated through props

(Continued on page 50)

Therry Theatre’s Home, I’m Darling (2023)

Photo: Andy Trimmings.

Therry Theatre’s Home, I’m Darling (2023)

Photo: Andy Trimmings.

(Continued from page 49)

management, plating cakes, pouring drinks, mixing the glue-like instant mash, resetting tables and furniture, in dimly lit precision.

Scene and costume changes took time, so I used the top 10 number one hits from 1950 to 1959 to bridge scenes and entertain the audience. ‘How much is that Doggie in the Window’ was a huge crowd pleaser,

while ‘Que, Sera, Sera’ became the favourite sing-along song.

Home, I’m Darling also gave me an opportunity for several of my professionally trained actors to be seen doing important, albeit unpaid work. Reviewer Mark Wickett said, ‘It’s a beautiful examination of the benefits and pitfalls of nostalgia, with the pervasive attitudes that should have remained back there. It shows us the still-growing need for equality between the sexes.’ So, my job was

done courtesy of skilled Production and Technical teams, a cast of six highly skilled actors and one of Adelaide’s oldest and most respected theatre companies.

What have I learned? The old adage that ‘the play’s the thing’ still holds true, because in this play, as in others, the play becomes our focus, our passion, and hopefully, our gift to our audiences.

CLOC Costumes

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 59 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 – AwardWinning Costume Designer/Co-ordinator Victoria Horne and her off-sider Melinda Peebles. Vicky’s designs have won numerous Music Theatre Guild awards, for the

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. If you’re looking for an incredible selection of costumes available to hire, CLOC’s collection is a fabulous place to start.

Victorian amateur theatre premiere productions of Priscilla Queen of the Desert, Strictly Ballroom, and Mary Poppins. Other costume collections available include Jersey Boys, Catch Me If You Can, Kinky Boots, Les Misérables and Mamma Mia!

Vicky and Melinda are working on CLOC’s current production, CHESS, before turning their attention to next year’s Billy Elliot, which coincides with the 60th anniversary of CLOC Musical Theatre.

For more details visit cloc.org.au/cloc-hire.html

CLOC’s Catch Me If You Can (2023)

Photo: Ben Fon.

CLOC’s Priscilla: Queen Of The Desert (2021)

Photo: Ben Fon.

Scenic Studios In Focus

Scenic Studios specialises in theatrical painting of scenic backdrops and theatre scenery. They also manufacture scenic paints and hire scenic backdrops around Australia for school productions, small theatre organisations and live events.

Their scenic hire range includes over 200 hire backdrops which are all professionally hand painted and manufactured in their studio. Scenic backdrops give depth to the scene and allow for lighting tricks, creating the atmosphere you desire for your performance.

The company has standardised the size, 12m wide x 6m drop, to fit most theatres and school auditoriums. Shows available include Wicked, The Wizard of Oz, Beauty and the Beast,

Annie, Frozen and Alice in Wonderland, whilst themes include ballrooms, forests, skies and cut cloths.

All can be found under backdrop hire on their website at scenicstudios.com.au. They also have sequin drapes, slash curtains, lame curtains and crush velvet drapes.

The company says by hiring scenic backdrops you are supporting the art of scenic painting and helping the environment, as nothing will end up in the landfill after your production.

Scenic Studios paint with their own manufactured scenic paints which are acrylic and designed to paint theatre backdrops, scenery and stage.

Paints come in 0.8L, 2.2L,4L and 10L or 15L. If you are painting a backdrop, scenery or stages you can purchase scenic paints online at scenicpaints.com.au or buy a scenic paint touch-up kit to test them first. They also stock special effects

products like membrane, texture and glazes.

The company’s scenic paints and scenic backdrops, all made locally, are environmentally friendly and can be shipped Australia-wide.

Choosing A Show

Music Theatre International mtishows.com.au

Evil Dead The Musical Evil Dead The Musical takes all the elements of the cult classic films The Evil Dead and Evil Dead 2 and combines them for a crazy, funny, and bloody theatrical experience.

You don’t need to be a fan of Evil Dead or horror or musicals to love this show. As long as you like having fun, this show is for you. Is it scary? No! Is it gory? No. This is a pure comedy start to finish. Plus, it’s the only show with a “Splatter Zone” a section of the audience that gets covered in fake blood. And with this combination of blood, jokes, cheesy effects, and awesome musical numbers, Evil Dead The Musical is unlike any live show you’ve seen.

mtishows.com.au/evil-dead-the-musical

Finding Nemo KIDS

Disney’s Finding

Nemo KIDS is a 30minute musical adaptation of the beloved 2003 Pixar movie with new music by awardwinning songwriting team Kristen

Anderson-Lopez and Robert Lopez. Marlin, an anxious and over-protective clownfish, lives in the Great Barrier Reef with his kid Nemo, who longs to explore the world beyond their anemone home. But when Nemo is captured and taken to Sydney, Marlin faces his fears and sets off on an epic adventure across the ocean.

mtishows.com.au/disneys-finding-nemo-kids

The Drowsy Chaperone JR.

A Broadway Junior adaptation of the Tony-winning musical comedy, The Drowsy Chaperone JR. is a loving satire of the Golden Age musical.

A man shares with the audience his favourite record: the 1928 musical The Drowsy Chaperone. As he plays the

record, the show comes to life in his apartment. The comedy blends two lovebirds on the eve of their wedding, a bumbling best man, a desperate theatre producer, a not -so-bright hostess, gangsters posing as pastry chefs, a misguided Don Juan and a sleepy chaperone. mtishows.com.au/the-drowsy-chaperone-jr

Origin Theatrical origintheatrical.com.au

Heathers The Musical Book, Music & Lyrics by Laurence O’Keefe and Kevin Murphy. Full Length Musical. Cast: 9F, 8M. Updated version from the 2019 West End production.

Heathers The Musical is the darkly delicious story of Veronica Sawyer, a brainy, beautiful teenage misfit who hustles her way into the most powerful and ruthless clique at Westerberg High: the Heathers. But before she can get comfortable atop the high school food chain, Veronica falls in love with the dangerously sexy new kid J.D.

Love Never Dies

Music by Andrew Lloyd Webber. Lyrics by Glenn Slater. Additional Lyrics by Charles Hart. Book by Ben Elton. Full Length Musical. Cast: 4F, 5M. The greatest love story of all time continues in Love Never Dies, Andrew Lloyd Webber’s sequel to The Phantom of the Opera

Be transported to New York’s playground, Coney Island, where the masked phantom has been hiding amongst the freaks and sideshows for 10 long years, yearning for his one true love and musical protégée, Christine Daaé.

Priscilla: Queen Of The Desert The Musical

Written by Stephan Elliott and Allan Scott. Full Length Musical. Cast: 4F, 9M.

Based on the smash-hit movie, Priscilla is the heartwarming, uplifting adventure of three friends who hop aboard a battered old bus searching for love and friendship. With a dazzling array of outrageous costumes

and a hit parade of dancefloor favourites, this wildly fresh and funny musical is a journey to the heart of fabulous!

Head Over Heels

Creator & Original Book: Jeff Whitty. Adaptations by James Magruder. Music & Lyrics by The Go-Go’s. Full Length Musical, Comedy. Cast: 5F, 3M.

Head Over Heels is the bold new musical comedy from the visionaries that rocked Broadway with Hedwig and the Angry Inch, Avenue Q and Spring Awakening. This laugh-out-loud story is set to the music of the iconic 1980’s all-female rock band The Go-Go’s, including the hit songs, “We Got the Beat”, “Our Lips Are Sealed”, “Vacation”, Belinda Carlisle’s “Heaven is a Place on Earth” and “Mad About You”.

Rodgers & Hammerstein’s Cinderella (Broadway Version)

Music by Richard Rodgers. Lyrics and Original Book by Oscar Hammerstein II. New Book by Douglas Carter Beane. Full Length Musical, Comedy. Cast: 5F, 4M.

Rodgers & Hammerstein’s Cinderella is the new Broadway adaptation of the classic musical. This contemporary take on the classic tale features Rodgers & Hammerstein’s songs, including “In My Own Little Corner”, “Impossible/It’s Possible” and “Ten Minutes Ago”, alongside an up-todate, hilarious, and romantic libretto by Tony Award nominee Douglas Carter Beane.

David Spicer Productions davidspicer.com.au

We Will Rock You (Eventually)

David Spicer was excited to attend the performance of We Will Rock You by Act Three Productions in Palmerston North New Zealand.

As you can see from this extraordinary t-shirt, the production was announced in 2019 and cancelled three times due to the COVID-19 pandemic.

Mother And Son

With the ABC releasing a new series, the stage version of Mother and Son is having a renaissance. There are 10 productions of the edition by Geoffrey Atherden on stage in 2023/2024.

The Fine Art of Deception

By Carl Caufield. Cast: 3M, 2F.

A comedy thriller about money, art, and friendship.

Suzanne Faith, a glamorous former model, partied in the 1970s with Mick Jagger. She established a London gallery with her late husband. Her impressive private collection includes a portrait of herself by Francis Bacon which is worth millions of pounds. A handyman attends her beautiful Chelsea home to do a simple repair job on some steps. What could go wrong? davidspicer.com.au/shows/fine-art-deception

The Watsons

By Kathyrn Attwood. Adapted from the unfinished novel by Jane Austen. Cast: 6M, 7F.

Jane Austen abandoned her novel The Watsons in 1805. This completed stage version received its premiere in 2017, to mark the bicentenary of the author’s death. Described as a ‘sparkling adaptation’ of Austen’s work, critics praised this ‘sharp and witty’ script and its ‘beautifully differentiated characters’. davidspicer.com.au/shows/watsons

The Hardcase Hotel

By Devon Williamson. Cast: 3M, 6F.

Set in the last resort luxury hotel for the wild, weird and wacky rich who have been banned from the five-star hotels of Europe. Today, a guest has been murdered, and with the hotel cut off by flash flooding, Juan Carlos is going to have to find out which of the oddball guests is the killer and why. davidspicer.com.au/shows/hardcase-hotel

On Stage

A.C.T.

Mr Bennet’s Bride by Emma Wood. Canberra Rep. Sep 723. canberrarep.org.au

Disney Winnie The Pooh by xx. TEG Life Like Touring & Rockefeller Sep 7 - 9. Canberra Theatre. canberratheatrecentre.com.au

Monty Python’s Spamalot. Book and lyrics by Eric Idle. Music by John Du Prez and Eric Idle. Free-Rain Theatre. Sep 12 - 30. The Q, Queanbeyan. freeraintheatre.com

Yes Yes Yes by Eleanor Bishop & Karin McCracken. Sep 1821. The Playhouse, Canberra Theatre Centre. canberratheatrecentre.com.au

Rosieville by Mary Rachel Brown. Canberra Youth Theatre. Sep 29 - Oct 8. The Courtyard Studio, Canberra Theatre Centre. canberratheatrecentre.com.au

Twelfth Night by William Shakespeare. Bell Shakespeare. Oct 13 - 21. The Playhouse, Canberra Theatre Centre. canberratheatrecentre.com.au

Oklahoma! Music by Richard Rodgers. Book and lyrics by Oscar Hammerstein II. Queanbeyan Players. Oct 1329. The Q, Queanbeyan. theq.net.au

Speaking in Tongues by Andrew Bovell. Free-Rain Theatre. Oct 25 - Nov 4. A.C.T. Hub, Kingston. acthub.com.au

The Visitors by Jane Harrison. Sydney Theatre Company and Moogahlin Performing Arts.

Nov 8 - 11. The Playhouse, Canberra Theatre Centre. canberratheatrecentre.com.au

The Complete Works of William Shakespeare (Abridged)

[Revised] by Adam Long, Daniel Singer, and Jess Winfield Canberra Rep. Nov 16 - Dec 2. canberrarep.org.au

A.C.T. & New South Wales

New South Wales

Tina - The Tina Turner Musical. By Katori Hall with Frank Ketelaar and Kees Prins. Paul Dainty AO/TEG Dainty in special collaboration with Stage Entertainment, Tali Pelman and Tina Turner. Continuing. Theatre Royal, Sydney. tinathemusical.com.au

Disney’s Beauty and the Beast. Composer: Alan Menken. Lyricist: Tim Rice. Book: Linda Woolverton. Continuing. Capitol Theatre, Sydney. beautyandthebeastmusical.com.au

Wicked. Music and Lyrics by Stephen Schwartz. Book by Winnie Holzman, based on the novel by Gregory Maguire. John Frost for Crossroads Live Australia, Marc Platt, Universal Pictures, The Araca Group, Jon B. Platt and David Stone. Continuing. Sydney Lyric Theatre. wickedthemusical.com.au

Things I Know To Be True by Andrew Bovell. Arts Theatre Cronulla. Until Sep 9. artstheatrecronulla.com.au

The Hollow by Agatha Christie. Genesian Theatre, 420 Kent St, Sydney. Until Sep 9. genesiantheatre.com.au

Wait Until Dark by Frederick Knott. The Guild Theatre. Until Sep 9. Walz St, Rockdale. guildtheatre.com.au

A Very Expensive Poison by Lucy Prebble. New Theatre. Until Sep 16. newtheatre.org.au

Miss Saigon by Boublil and Schönberg. Opera Australia. Until Oct 13. Joan Sutherland Theatre, Sydney Opera House. sydneyoperahouse.com

Rhomboid by Eric Jiang. Until Sep 9. KXT On Broadway, 181 Broadway, Cnr Mountain St, Ultimo. kingsxtheatre.com

The Dismissal. Book by Blake Erickson and Jay James-Moody,

On Stage

Winner of the Tony Award for Best Musical, Sondheim’s A Little Night Music is a wonderfully witty and deeply moving romance, exploring desire, passion and regret.

Directed by Dean Bryant, a new production of the show is set to open at Hayes Theatre Company on October 13.

The cast will include Blazey Best as Desiree Armfeldt, Leon Ford as Frederik Egerman, Melanie Bird as Anne Egerman, Jeremi Campese as Henrik Egerman and Nancye Hayes as Madame Armfeldt.

Music and Lyrics by Laura Murphy. Conceived and Directed by Jay James-Moody Squabbalogic. Until Oct 7. Seymour Centre. seymourcentre.com

Avenue Q. Book by Jeff Marx. Music & Lyrics by Robert Lopez and Jeff Marx. Ballina Players. Until Sep 10. ballinaplayers.com.au

The Crucible by Arthur Miller. The Henry Lawson Theatre, Werrington. Sep 1 - 17. hltheatre.com.au

Blaque Showgirls by Nakkiah Lui. Griffin Theatre Company. Sep 1 - Oct 14. SBW Stables Theatre. griffintheatre.com.au

The Importance of Being Earnest by Oscar Wilde. Sydney Theatre Company. Directed by Sarah Giles. Sep 5 - Oct 14. Roslyn Packer Theatre. sydneytheatre.com.au

Jerry’s Girls. Music and lyrics by Jerry Herman. Concept by Larry Alford, Wayne Cilento and Jerry

Herman. Reginald Rose. Metropolitan Players Inc. Sep 6 - 16. Civic Playhouse, Newcastle. Civic Ticket Office. (02) 4929 1977.

The Hen House by Josipa Draisma and Mara Kneževic. PYT Fairfield and In Wild Company. Sep 7 - 9. Riverside Theatres, Parramatta. riversideparramatta.com.au

The 25th Annual Putnam County Spelling Bee. Book by Rachel Sheinkin. Music and Lyrics by William Finn. Conceived by Rebecca Feldman. Hayes Theatre Co. From Sep 8. hayestheatre.com.au

Summer Of Harold by Hilary Bell. Ensemble Theatre. Sep 8Oct 14. ensemble.com.au

The Visitors by Jane Harrison. Sydney Theatre Company. Sep 11 - Oct 14. Drama Theatre, Sydney Opera House. sydneytheatre.com.au

School of Rock. New Music: Andrew Lloyd Webber. Lyrics: Glenn Slater. Book: Julian Fellowes. Miranda Musical Theatre Company. Sep 13 - 17. Pavilion Performing Arts Centre, Sutherland. mirandamusicaltheatrecompany.com.au

Lady Day at Emerson’s Bar & Grill by Lanie Robertson. Belvoir, Melbourne Theatre Company and State Theatre Company South Australia coproduction. Sep 14 - Oct 15. Belvoir Street Upstairs. belvoir.com.au

Is God Is by Aleshea Harris. Sydney Theatre Company. Sep 15 - Oct 21. Wharf 1 Theatre. sydneytheatre.com.au

Human Activity by Katie Pollock. bAKEHOUSE Theatre and Nautanki Theatre. Sep 1530. KXT On Broadway, 181 Broadway, Ultimo. kingsxtheatre.com

The Addams Family by Marshall Brickman, Rick Elice and Andrew Lippa. Holroyd Musical

and Dramatic Society. Sep 1524. Redgum Centre, Wentworthville. hmds.org.au

The Addams Family by Marshall Brickman, Rick Elice and Andrew Lippa. North Shore Theatre Company Sep 15 - 23. Zenith Theatre, Chatswood. northshoretheatrecompany.org

Is There Something Wrong with That Lady? by Debra Oswald. Ensemble Theatre. Sep 18 - Oct 14. ensemble.com.au

Home, I’m Darling by Laura Wade. Blackheath Theatre Co. Sep 21 - 24. blackheaththeatrecompany.com

Cactus Flower by Abe Burrows. Castle Hill Players. Sep 22 - Oct 14. Pavilion Theatre, Castle Hill Showground. paviliontheatre.org.au

The Pirates of Penzance by WS Gilbert and Sir Arthur Sullivan. EUCMS. Sep 22 - Oct 7. eucms.org.au

The Little Mermaid. Music by Alan Menken. Lyrics by Howard

Photo: John Macrae. hayestheatre.com.au

On Stage

Ashman and Glenn Slater. Book by Doug Wright. SYMT. Sep 22 - 24. Riverside Theatres, Parramatta. riversideparramatta.com.au

Shrek The Musical. Music by Jeanine Tesori, with book and lyrics by David Lindsay-Abaire Stage Artz. Sep 23 - 30. Glen Street Theatre. glenstreet.com.au

Honk Jr. Book and lyrics by Anthony Drewe, music by George Stiles. Young People’s Theatre, Newcastle. Sep 26Oct 21. ypt.org.au

Disney Frozen Jr. Music & Lyrics by Kristen Anderson-Lopez and Robert Lopez. Book by Jennifer Lee. Albatross Musical Theatre, Nowra. Sep 28 - 30.

Shoalhaven Entertainment Centre. amtc.org.au

The Hunchback of Notre Dame. Music by Alan Menken. Lyrics by Stephen Schwartz. Book by Peter Parnell. The Regals Musical Society. Sep 29 - Oct

8. Rockdale Town Hall. theregals.com.au

High School Musical 2 Jr by David Simpatico. Camden Musical Society. Sep 30 - Oct

8. Camden Civic Centre. camdenmusicalsociety.org

The 13th Month by Cassandra. Wildfang Productions. Oct 4 -

7. Flight Path Theatre, Marrickville. flightpaththeatre.org

The God Committee by Mark St. Germain. Wollongong Workshop Theatre. Oct 6 - 21. Workshop Theatre, Gwynneville. wollongongworkshoptheatre.com.au

Les Misérables. Music by Claude-Michel Schönberg. Lyrics by Herbert Kretzmer. Original French text by Alain Boublil and Jean-Marc Natel. Campbelltown Theatre Group. Oct 6 - 21. ctgi.org.au

Boom by Jean Tay. Slanted Theatre. Oct 6 - 21. KXT On

Broadway, 181 Broadway, Ultimo. kingsxtheatre.com

Billy Elliot The Musical. Music by Elton John. Book and lyrics by Lee Hall. The Very Popular Theatre Company. Oct 7 - 21. Civic Theatre, Newcastle. verypopulartheatreco.com.au

A Little Night Music. Music and lyrics by Stephen Sondheim. Book by Hugh Wheeler. Hayes Theatre Co. From Oct 13. hayestheatre.com.au

The Wizard of Oz by John Kane, Harold Arlen, E.Y. Harburg and Herbert Stothart. Penrith Musical Comedy Company Inc. Oct 13 - 23. The Q Theatre, Penrith. penrithmusical.org

Cats. Music by Andrew Lloyd Webber. Lyrics based on Old Possum’s Book of Practical Cats by T. S. Eliot. Additional material by Trevor Nunn and Richard Stilgoe. Willoughby Theatre Company. Oct 14 - 29. The Concourse Theatre. willoughbytheatreco.com.au

Don’t Mention Casablanca by Michelanne Forster. Newcastle Theatre Company. Oct 14 - 28. newcastletheatrecompany.com.au

The Katie Lees Fellowship. Oct 17 - 21. Flight Path Theatre, Marrickville. flightpaththeatre.org

New South Wales

Robyn Archer: An Australian Songbook. Devised and performed by Robyn Archer. Belvoir. Oct 18 - 29. Belvoir Street Upstairs. belvoir.com.au

Freaky Friday by Bridget Carpenter, Tom Kitt and Brian Yorkey, from the novel by Mary Rodgers. Parkes Musical and Dramatic Society. Oct 18 - Nov 5 parkesmandd.com.au

The Visitors by Jane Harrison. Sydney Theatre Company and Moogahlin Performing Arts. Oct 19 - 21. Riverside Theatres Parramatta.

riversideparramatta.com.au

Girls in Boys’ Cars by Felicity Castagna. National Theatre of Parramatta. Oct 19 - Nov 3. Riverside Theatres Parramatta. riversideparramatta.com.au

The Memory of Water by Shelagh Stephenson. Ensemble Theatre. Oct 20 - Nov 25. ensemble.com.au

Legally Blonde. Music and lyrics by Laurence O’Keefe and Nell Benjamin. Book by Heather Hach. Strathfield Musical Society. Oct 20 - 28. The Latvian Theatre, Strathfield. strathfieldmusicalsociety.com.au

Kinky Boots by Harvey Fierstein and Cyndi Lauper. Gosford Musical Society. Oct 20 - Nov 11. gosfordmusicalsociety.com

56 Stage Whispers

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

On Stage

Merrily We Roll Along Music and lyrics by Stephen Sondheim Book by George Furth. Engadine Musical Society. Oct 20 - 29. Engadine Community Centre. engadinemusicalsociety.com.au

Black Comedy. Armidale Drama and Musical Society. Oct 2028. The Armidale Playhouse. adms.org.au

Shrek The Musical. Music by Jeanine Tesori. Book & Lyrics David Lindsay-Abaire. Tamworth Musical Society. Oct 20 - Nov 4. Capitol Theatre, Tamworth. tms.org.au

Strictly Ballroom Created by Baz Luhrmann. Book by Baz Luhrmann & Craig Pearce. Adapted by Terry Johnson. Blue Mountains Musical Society. Oct 21 - Nov 5. bmms.org.au

You Don’t Have to be Jewish by Bob Booker. Bondi Theatre Company. Oct 25 - Nov 5, Bondi Pavilion & Nov 15 - 19, Emanuel Synagogue. bonditheatrecompany.com.au

Everything But The Kitchen Sink Festival. Oct 25 - Nov 4. Flight Path Theatre, Marrickville. flightpaththeatre.org

The Dictionary of Lost Words

Adapted by Verity Laughton from the novel by Pip Williams. Sydney Theatre Company. Oct 26 - Dec 9. Drama Theatre,

Sydney Opera House. sydneytheatre.com.au

Don’t Dress for Dinner by Marc Camoletti, adapted by Robin Hawdon. Woy Woy Little Theatre. Oct 27 - Nov 12. Peninsula Theatre, Woy Woy. woywoylt.com

Me and My Girl. Book and lyrics by L Arthur Rose and Douglas Furber. Music by Noel Gay. Revised by Stephen Fry. The Players Theatre, Port Macquarie. Oct 27 - Nov 19. playerstheatre.org.au

The Lives of Eve by Stephen Sewell. White Box Theatre. Oct 27 - Nov 11. KXT On Broadway, 181 Broadway, Ultimo. kingsxtheatre.com

The Fox on The Fairway by Ken Ludwig. Arts Theatre Cronulla. Oct 27 - Dec 2. artstheatrecronulla.com.au

Gaslight by Patrick Hamilton. Pymble Players. Nov 1 - 26. Pymble Players Theatre, Cnr Mona Vale Rd and Bromley Ave, Pymble. pymbleplayers.com.au

Clue by Sandy Rustin. The Theatre on Chester. Nov 3 - 25. theatreonchester.com.au

Jersey Boys. Music by Bob Gaudio, lyrics by Bob Crewe, and book by Marshall Brickman and Rick Elice. Hornsby Musical Society. Nov 3 - 12. Pioneer

Theatre, Castle Hill. hornsbymusicalsociety.com.au

Atomic by Danny Ginges and Philip Foxman. Coffs Harbour Musical Comedy Company.

Nov 3 - 26. Jetty Memorial Theatre, Coffs Harbour. jettytheatre.com

Love Letters by A R Gurney. The Guild Theatre, Rockdale Nov 3 - Dec 3. (02) 9597 4558. guildtheatre.com.au

The Full Monty by Simon Beaufoy. Wyong Drama Group. Nov 3 - 11. Red Tree Theatre, Tuggerah. wyongdramagroup.com.au

Oil by Ella Hickson. Sydney Theatre Company. Nov 4 - Dec 16. Wharf 1 Theatre. sydneytheatre.com.au

Into the Woods. By James Lapine and Stephen Sondheim. Bankstown Theatre Company. Nov 4 - 12. Bryan Brown Theatre. bankstowntheatrecompany.com

Titanic: The Diamond of Dreams by Ken Cotterill and Tanya Paige. Richmond Players. Nov 4 - 25. Richmond School of Arts. richmondplayers.com.au

Losing It by Megan Bennetts. Nov 8 - 18. Flight Path Theatre, Marrickville. flightpaththeatre.org

New South Wales

The Little Mermaid. Adapted from Hans Christian Andersen Lane Cove Theatre Company. Nov 10 - 26. The Performance Space at St Aidan’s, Longueville. lanecovetheatrecompany.com

Catch Me If You Can. Book by Terrance McNally. Music by Marc Shaiman. Lyrics by Scott Wittman and Marc Shaiman. Hills Musical Theatre Company. Nov 10 - 18. hillsmtc.com

Beautiful - The Carol King

Musical. Book by Douglas McGrath. Songs by Carole King, Gerry Goffin, Cynthia Weil, Barry Mann and others. Ballina Players. Nov 10 - Dec 3. ballinaplayers.com.au

La Bohème by Giacomo Puccini. Rockdale Opera Company. Nov 11 - 19. Rockdale Town Hall. rockdaleopera.com.au

Footloose by Dean Pitchford, Walter Bobbie and Tom Snow. Albatross Musical Theatre. Nov 11 - 19. Shoalhaven Entertainment Centre. amtc.org.au

The Master And Margarita. Adapted by Eamon Flack, from the book by Mikhail Bulgakov. Nov 11 - Dec 10. Belvoir Street Upstairs. belvoir.com.au

Gadigal Gal. Written and performed by Graham Simms,

On Stage

aka Nana Miss Koori. Griffin Lookout. Nov 15 - 25. SBW Stables Theatre. griffintheatre.com.au

The Comedy of Errors by William Shakespeare. Glenbrook Players. Nov 1725. Glenbrook Theatre. glenbrookplayers.com.au

Baskerville: A Sherlock Holmes Mystery by Ken Ludwig. Castle Hill Players. Nov 17 - Dec 9. The Pavilion Theatre, Castle Hill Showground. paviliontheatre.org.au

VIP - A cabaret inspired by Studio 54. Mosman Musical Society. Nov 17 - 25. Mosman Art Gallery Grand Hall. mosmanmusicalsociety.com.au

The Appleton Ladies’ Potato Race by Melanie Tate. Hunters Hill Theatre. Nov 17 - Dec 3. huntershilltheatre.com.au

Instructions For Correct Assembly by Thomas Eccleshare. Clock & Spiel Productions. Nov 17 - Dec 2.

KXT On Broadway, 181 Broadway, Ultimo. kingsxtheatre.com

The Appleton Ladies’ Potato Race by Melanie Tait. Newcastle Theatre Company. Nov 18 - Dec 2. newcastletheatrecompany.com.au

The Addams Family by Marshall Brickman, Rick Elice and Andrew Lippa. Rocky Hill Musical Theatre Company. Nov 17 - 26. Goulburn Performing Arts Centre.

rockyhillmtc.com.au

The End of Winter by Noëlle Janaczewska. Siren Theatre Company. Nov 20 - 22. Riverside Theatres Parramatta. riversideparramatta.com.au

The Seagull by Anton Chekhov, adapted by Andrew Upton. Sydney Theatre Company. Nov 21 - Dec 16. Roslyn Packer Theatre. sydneytheatre.com.au

If/Then. Music by Tom Kitt. Lyrics by Brian Yorkey. Hayes Theatre Co / Neglected

New South Wales & Queensland

Musicals. From Nov 22. hayestheatre.com.au

Calendar Girls by Tim Firth. Comedy. Maitland Repertory Theatre. Nov 22 - Dec 10. mrt.org.au

Roald Dahl’s The Witches. Lieder Theatre Company. Nov 29 - Dec 16. theliedertheatre.com

Puffs by Matt Cox. Young People’s Theatre Newcastle. Nov 30 - Dec 3. ypt.org.au

Wowfest: The Final Frontier. Hunter Drama. Nov 30 - Dec 10. Civic Playhouse Newcastle & Cessnock Performing Arts Centre. hunterdrama.com.au

Midnight Murder At Hamlington Hall by Mark Kilmurry and Jamie Oxenbould. Ensemble Theatre. Dec 1 - Jan 14. ensemble.com.au

Queensland

Mamma Mia! The Musical. Music and Lyrics by Benny Andersson and Björn Ulvaeus.

Book by Catherine Johnson. Produced by Michael Coppel, Louise Withers and Linda Bewick. Until Sep 24. Lyric Theatre, QPAC. qpac.com.au

The 25th Annual Putnam County Spelling Bee. Book by Rachel Sheinkin. Music and Lyrics by William Finn. Originally conceived by Rebecca Feldman. Brisbane Arts Theatre. Until Sep 30. artstheatre.com.au

Don’t Ask What The Bird Look Like by Hannah Belanszky. Queensland Theatre. Until Sep 9. Bille Brown Theatre. queenslandtheatre.com.au

The Tragedy of Macbeth by William Shakespeare. St Luke’s Theatre Society. Until Sep 9. Christ Church Hall, Yeronga. stlukestheatre.asn.au

Tae Tae in the Land of Yaaas! By Nelle Lee. shake & stir theatre co. Until Sep 17. Cremorne Theatre, QPAC. qpac.com.au

58 Stage Whispers

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

On Stage

Personal by Jodee Mundy. Brisbane Festival/ Jodee Mundy Collaborations / Critical Stages. Sep 6 - 9. Metro Arts / New Benner Theatre. metroarts.com.au

12 Angry Jurors by Reginald Rose, adapted by Sherman L Sergel. Ipswich Little Theatre. Sep 7 - 23. ilt.org.au

Les Misérables. Music by Claude-Michel Schönberg. Lyrics by Herbert Kretzmer. Original French text by Alain Boublil and Jean-Marc Natel. Toowoomba Choral Society. Sep 7 - 9. Empire Theatre, Toowoomba. tcschoral.com.au

The Trip to Bountiful by Horton Foote. Sunnybank Theatre Group. Sep 8 - 23. sunnybanktheatre.com.au

Hansel and Gretel by Natalie Trengrove. Tweed Heads Theatre Co. Sep 9 - 24. Tweed Heads Civic Centre Auditorium. tweedtheatre.com.au

Still Standing by Margery and Michael Forde. Gold Coast Little Theatre. Sep 9 - 30. gclt.com.au

Kuramanunya. Thomas E. S. Kelly. Brisbane Festival / Karul Projects. Sep 13 - 16. Metro Arts / New Benner Theatre. metroarts.com.au

Drinking Habits by Tom Smith. Cairns Little Theatre / Rondo Theatre. Sep 15 - 23. therondo.com.au

Bananaland by Keir Nuttall and Kate Miller-Heidke. Brisbane Festival. Sep 16 - Oct 1.

Playhouse, QPAC. qpac.com.au

Across The Barricades by David Ian Neville, adapted from the novel by Joan Lingard. Sep 16Oct 7. Centenary Theatre Group. centenarytheatre.com.au

Party Ghost by Jarred Dewy and Olivia Porter. Brisbane Festival, Double Take and Cluster Arts. Sep 20 - 23. Metro Arts / New Benner Theatre. metroarts.com.au

The Pied Piper. Adapted by Sue Sewell. Noosa Arts Theatre.

Sep 21 - Oct 1. noosaartstheatre.org.au

Hide the Dog by Nathan Maynard and Jamie McCaskill. Brisbane Festival / Performing Lines Tas. Sep 21 - 23. Cremorne Theatre, QPAC. qpac.com.au

Sherwood: The Adventures of Robin Hood by Ken Ludwig. Javeenbah Theatre. Sep 22 -

Oct 7. javeenbah.org.au

The Music Man by Meredith Willson. Savoyards. Sep 23Oct 7. Iona Performing Arts Centre. savoyards.com.au

Disney Princess - The Concert. TEG Dainty / Disney Concerts. Oct 1. Concert Hall, QPAC. qpac.com.au

Chicago. Music: John Kander.

Lyrics: Fred Ebb. Book: Fred Ebb & Bob Fosse based on the play by Maurine Dallas Watkins. North Queensland Opera and Music Theatre. Oct 4 - 14. Townsville Civic Centre. nqomt.com.au

The Appleton Ladies’ Potato Race by Melanie Tait.

Queensland Theatre. Oct 728. Bille Brown Theatre. queenslandtheatre.com.au

Hansel & Gretel by Michael Webber. Brisbane Arts Theatre.

Oct 7 - Nov 25. artstheatre.com.au

Sir Terry Pratchett’s Monstrous Regiment. Adapted by Stephen Briggs. Brisbane Arts Theatre.

Oct 14 - Nov 25. artstheatre.com.au

Mary Shelley’s Frankenstein. Adapted by shake & stir theatre co. Oct 14 - 28. Playhouse, QPAC. qpac.com.au

Summer of the Seventeenth Doll by Ray Lawler. Noosa Arts Theatre. Nov 1 - 18. noosaartstheatre.org.au

Vietgone by Qui Nguyen. Original Music by Shane Rettig. Queensland Theatre. Nov 418. Playhouse, QPAC. queenslandtheatre.com.au

Queensland & Victoria

Pygmalion by George Bernard Shaw. Centenary Theatre Group. Nov 4 - 25. centenarytheatre.com.au

IRL by Lewis Treston. La Boite. Nov 6 - 25. Roundhouse Theatre. laboite.com.au

Spooky Dog & the Teen-Age Gang Mysteries by Eric Pilner and my Rhodes. Tugun Theatre Company. Nov 9 - 25. tuguntheatre.org

Xanadu Book by Douglas Carter Beane. Music and Lyrics by Jeff Lynne and John Farrar Nov 9 - Dec 2. Spotlight Theatrical Company, Benowa. spotlighttheatre.com.au

My Fair Empire - A Theatre Restaurant by David Austin. Ipswich Little Theatre. Nov 10Dec 2. ilt.org.au

A Murder is Announced by Agatha Christie. Nash Theatre New Farm. Nov 10 - Dec 2. nashtheatre.com

Little Women. Adapted from the Louisa May Alcott novel by Scott Davidson. St Luke’s Theatre Society. Nov 10 - 25. Christ Church Hall, Yeronga. stlukestheatre.asn.au

Red Riding Hood Villains’ Revenge by Ashley Worsman. Sunnybank Theatre Group. Nov 17 - Dec 2. sunnybanktheatre.com.au

45 Seconds from Broadway by Neil Simon. Gold Coast Little Theatre. Nov 18 - Dec 9. gclt.com.au

The Cat’s Meow by Steven Peros. Villanova Players. Nov 24 - Dec 3. villanovaplayers.com

Falsettos by William Finn and James Lapine. Javeenbah Theatre. Nov 24 - Dec 9. javeenbah.org.au

99 Dalmatians - The Panto. Cairns Little Theatre / Rondo Theatre. Nov 24 - Dec 9. therondo.com.au

Victoria

What If Only and Escaped Alone by Caryl Churchill. Melbourne Theatre Company.

Until Sep 9. Southbank Theatre, The Sumner. mtc.com.au

Moulin Rouge! The Musical. Book by John Logan, based on the Baz Luhrmann film. Global Creatures. Ongoing. Regent Theatre, Melbourne. moulinrougemusical.com/australia

The Third Act by Emma Wood. Malvern Theatre Company. Until Sep 9. Malvern Theatre. malverntheatre.com.au

La Mama Explorations 2023. La Mama Courthouse. Until Oct 8. lamama.com.au

DIVAS. Bernadette Robinson. Until Sep 10. Fairfax Studio, Arts Centre Melbourne. artscentremelbourne.com.au

Almost Maine by John Cariani. Eltham Little Theatre. Sep 116. Eltham Performing Arts Centre. elthamlittletheatre.org.au

Consent by Nina Raine. Mordialloc Theatre Company Inc. Sep 1 - 16. Shirley Burke Theatre, Parkdale. mordialloctheatre.com

Death of a Salesman by Arthur Miller. Starring Anthony LaPaglia. Directed by Neil Armfield. Sep 1 - Oct 15. Her Majesty’s Theatre, Melbourne. hmt.com.au

Mr Bailey’s Minder by Debra Oswald. MoArtz Inc Theatre. Sep 1 - 9. Monash Hall, Yallourn North. moartz.com

Agnes of God by John Pielmeier. Williamstown Little Theatre. Sep 6 - 23. wlt.org.au

The Complete Works of William Shakespeare (Abridged) [Revised] (Again). By Adam Long, Daniel Singer & Jess Winfield. Lilydale Athenaeum Theatre Co. Sep 7 - 23. lilydaleatc.com

Myra in Space by Bridgette Burton. Baggage Productions Sep 7 - 17. fortyfivedownstairs, Melbourne. fortyfivedownstairs.com

Love Lust Lost. Broad Encounters. Sep 8 - Oct 29.

On Stage Victoria

The Austral - Collingwood. lovelustlost.com

Così by Louis Nowra. Heidelberg Theatre Co. Sep 823. htc.org.au

Stepping Out by Richard Harris. Gemco Players. Sep 8 - 23. The Gem Community Arts Centre, Emerald. gemcoplayers.org

A Funny Thing Happened on the Way to the Forum. Music and Lyrics by Stephen Sondheim. Book by Burt Shevelove and Larry Gelbart. Watch This. Sep 8 - 24. Chapel Off Chapel. chapeloffchapel.com.au

The Drawer Boy by Michael Healey. Geelong Repertory Theatre Company. Sep 8 - 23 Woodbin Theatre, Geelong. geelongartscentre.org.au

Carnival of the Animals by Yaron Lifschitz and the Circa Ensemble. Circa. Sep 16 - 23. Playhouse, Arts Centre Melbourne. artscentremelbourne.com.au

Mutton is the New Lamb - a trans de-mythology Julie Peters. The Butterfly Club. Sep 18 - 23 thebutterflyclub.com

Celebrity by Suzie J. Jarmain. La Mama HQ. Sep 20 - Oct 1. lamama.com.au

Elmo’s Circus Dream. Sesame Street. Sep 20 - 22, Frankston Arts Centre; Sep 24 - 27, Palais Theatre, Geelong; Sep 28 - Oct 1, Clocktower Centre, Moonee Ponds. sesamestreetcircus.com.au

The Crocodile by Tom Basden. Spinning Plates Co Sep 21Oct 1. fortyfivedownstairs, Melbourne. fortyfivedownstairs.com Get It Together. Alister Kingsley. The Butterfly Club. Sep 21 - 23. thebutterflyclub.com

Winnie The Pooh - The Musical. Created by Jonathan Rockefeller. TEG Life Like Touring & Rockefeller Productions in association with

Disney Theatrical Productions. Sep 21 - 24. Comedy Theatre, Melbourne. winniethepoohshow.com/australia

Terry Pratchett’s Wyrd Sisters. Adapted by Stephen Briggs. Ballarat National Theatre. Sep 22 - Oct 1. Woodman’s Hill Performing Arts Centre. bnt.org.au

My Sister Jill by Patricia Cornelius. Melbourne Theatre Company. Sep 23 - Oct 28. Southbank Theatre, The Sumner. mtc.com.au

Disney Frozen Jr. Music & Lyrics by Kristen Anderson-Lopez and Robert Lopez. Book by Jennifer Lee. Mountain District Musical Society. Sep 27 - 30. mdms.org.au

Human of the Year - Regina Spektor Tribute Show. Elizabeth Lynch-Berends. The Butterfly Club. Sep 28 - 30. thebutterflyclub.com

Innes Lloyd: Journey to the Centre of the Earth. The Butterfly Club. Sep 28 - 30. thebutterflyclub.com

Elvis: A Musical Revolution. Book by Sean Cercone and David Abbinanti. David Venn Enterprises. Sep 30 - Oct 29. Athenaeum Theatre. elvisamusicalrevolution.com.au

An Unwasted Evening - The Genius of Tom Lehrer. Antony (DrH) Hubmayer / Melbourne Fringe Festival. The Butterfly Club. Oct 2 - 18. thebutterflyclub.com

Vikings vs Climate Change. Babble Productions / Melbourne Fringe Festival. The Butterfly Club. Oct 2 - 18. thebutterflyclub.com

Mother of Compost by Noemie Huttner-Koros. Melbourne Fringe. Oct 2 - 8. The Motley Bauhaus. melbournefringe.com.au

Niusia by Beth Paterson. Melbourne Fringe / a ry presentation. Oct 2 - 8. The Motley Bauhaus. melbournefringe.com.au

Melbourne Fringe Festival. Oct 3 - 22. melbournefringe.com.au

Constellations by Nick Payne Artefact Theatre Oct 4 - 15. fortyfivedownstairs, Melbourne. fortyfivedownstairs.com

Mamma Mia! The Musical. Music and Lyrics by Benny Andersson and Björn Ulvaeus. Book by Catherine Johnson. Produced by Michael Coppel, Louise Withers and Linda Bewick. From Oct 4. Princess Theatre, Melbourne. mammamiathemusical.com.au

Belles by Mark Dunn. The Basin Theatre Group Inc. Oct 5 - 15. The Basin Theatre. thebasintheatre.org.au

Phantom Call by Chris Hodson. The 1812 Theatre, Upper Ferntree Gully. Oct 5 - 28. 1812theatre.com.au

Songs for a New World by Jason Robert Brown Soundworks Productions. Oct 5 - 15. Chapel Off Chapel. chapeloffchapel.com.au

A Chorus Line - Teen Edition. Book by James Kirkwood and Nicholas Dante. Music by Marvin Hamlisch. Lyrics by Edward Kleban. MLOC. Oct 515. mloc.org.au

Bonnie & Clyde. Music by Frank Wildhorn, lyrics by Don Black and book by Ivan Menchell. Waterdale. Oct 6 - 14. Doncaster Playhouse. waterdale.org.au

Chess by Benny Andersson, Björn Ulvaeus and Tim Rice CLOC Musical Theatre. Oct 621. National Theatre, St Kilda. cloc.org.au

Flake by Dan Lee, co-created by Chi Nguyen. Red Stitch. Oct 11 - Nov 5. redstitch.net

Disney Princess - The Concert. Disney Concerts / TEG Dainty. Oct 14. Plenary, Melbourne Convention Centre. mcec.com.au

A Dodgeball Named Desire. Bloomshed Oct 18 - 29.

On Stage Victoria

Online extras!

Melbourne will soon be singing “You’re The One That I Want”. Scan or visit youtu.be/G7xDrZ0TbZ4

fortyfivedownstairs, Melbourne.

fortyfivedownstairs.com

The Visitors by Christopher Sainsbury and Jane Harrison. Victorian Opera. Oct 18 - 21. Playhouse, Arts Centre Melbourne. artscentremelbourne.com.au

Hour of the Wolf by Matthew Lutton and Keziah Warner. Malthouse. Oct 19 - Dec 3. Merlyn Theatre. malthousetheatre.com.au

Lady Day at Emerson’s Bar & Grill by Lanie Robertson. Melbourne Theatre Company. Oct 19 - Dec 2. Fairfax Studio,

Arts Centre Melbourne. mtc.com.au

Tartuffe by Molière. Torquay Theatre Troupe. Oct 26 - Nov

4. Shoestring Playhouse. ttt.org.au

Absurd Person Singular by Alan Ayckbourn. Malvern Theatre Co. Oct 27 - Nov 11. malverntheatre.com.au

Miss Saigon by Boublil and Schönberg. Opera Australia / Cameron Mackintosh. Oct 29Dec 3. Her Majesty’s Theatre, Melboune. miss-saigon.com.au

Orlando by Rachel Lewindon and Willow Sizer, adapted from the book by Virginia Woolf. Antipodes Theatre

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

Mackenzie Dunn, playing the role of Rizzo, and Brianna Bishop, in the role of Marty, are set to join the cast of Grease

Mackenzie recently played Penny Pingleton in the Australian Hairspray tour. Brianna was most recently seen in the lead role of Ella in the Australian premiere season of Midnight The Cinderella Musical, and was also in the Australian tour of Hairspray as Amber von Tussle. They will be joined by some of Australia’s favourite performers including Annelise Hall as Sandy, Joseph Spanti as Danny, Patti Newton as Miss Lynch, Jay Laga’aia as Vince Fontaine and Marcia Hines as Teen Angel. Grease opens at Her Majesty’s Theatre in Melbourne on December 31. greasemusical.com.au

Company Nov 2 - 12. fortyfivedownstairs, Melbourne. fortyfivedownstairs.com

La Cage Aux Folles by Jerry Herman and Harvey Fierstein. David Hawkins. Nov 9 - 19. Playhouse, Arts Centre Melbourne. artscentremelbourne.com.au

Here I Belong by Matt Hartley. Brighton Theatre Company. Nov 10 - 25. brightontheatre.com.au

Clue On Stage by Jonathan Lynn. Eltham Little Theatre. Nov 10 - 25. Eltham Performing Arts Centre,

Research. elthamlittletheatre.org.au

Four Flat Whites in Italy by Roger Hall. Mordialloc Theatre Company Inc. Nov 10 - 25. Shirley Burke Theatre. mordialloctheatre.com

Spring Awakening by Steven Sater and Duncan Sheik. Williamstown Musical Theatre. Nov 10 - 25. Centenary Theatre, Williamstown. wmtc.org.au

You Can’t Escape an Aussie Boy. The Butterfly Club. Nov 13 - 18. thebutterflyclub.com

A Christmas Carol by Charles Dickens. A version by Jack Thorne, conceived and directed

On Stage

Rob Mallett stars as Elvis Presley in the hot new bio-musical Elvis: A Musical Revolution presented by David Venn Enterprises.

Packed with over 40 of The King’s hit songs, the high-energy production explores the pivotal moments in Elvis’ life and career.

The Sydney season at State Theatre concludes on September 16 followed closely by a run at Athanaeum Theatre, Melbourne.

Online extras!

Audiences can’t help falling in love with Elvis: A Musical Revolution. Scan or visit youtu.be/tu3F4jXhxvY

by Matthew Warchus GWB

Entertainment. Nov 12 - Dec 31. Comedy Theatre, Melbourne. christmascarolaustralia.com.au

A Gentleman’s Guide to Love and Murder. Book and lyrics by Robert L. Freedman. Music and lyrics by Steven Lutvak. Williamstown Little Theatre. Nov 15 - Dec 2. wlt.org.au

A Very Jewish Christmas Carol by Elise Esther Hearst and Phillip Kavanagh. Melbourne Theatre Company. Nov 14Dec 16. Southbank Theatre, The Sumner. mtc.com.au

Who’s Afraid of Virginia Woolf? by Edward Albee. Red Stitch. Nov 15 - Dec 17. redstitch.net

Art by Yasmina Reza. The 1812 Theatre, Upper Ferntree Gully. Nov 16 - Dec 9. 1812theatre.com.au

Still Here by Dave & the Dave. The Butterfly Club. Nov 1618. thebutterflyclub.com

62 Stage Whispers

Victoria & Tasmania

FRACKED! Or Please don’t use the F-word by Alistair Beaton. Lilydale Athenaeum Theatre Co. Nov 16 - Dec 2. lilydaleatc.com

Ladies in Black by Tim Finn and Carolyn Burns. Heidelberg Theatre Co. Nov 17 - Dec 2. htc.org.au

The Messiah by Patrick Barlow. Geelong Repertory Theatre Company. Nov 17 - Dec 2. Woodbin Theatre. geelongartscentre.org.au

Whose Gonna Love ‘Em? I am that I Am by Kamarra BellWykes. Daylight Connection. Nov 22 - Dec 3. Malthouse Theatre, The Tower. malthousetheatre.com.au

Chase by Carly Sheppard and Kamarra Bell-Wykes. Daylight Connection. Nov 22 - Dec 3. Malthouse Theatre, Beckett Theatre. malthousetheatre.com.au

The Odd Couple - Female Version by Neil Simon.

Essendon Theatre Co. Nov 23Dec 2. Bradshaw Street Community Hall. essendontheatrecompany.com.au

Ages Ago by WS Gilbert and Frederic Clay. GSOV. Nov 2326. The Malvern Theatre. gsov.org.au

Tasmania

A Clockwork Orange by Anthony Burgess. Launceston Players. Sep 7 - 16. Earl Arts Centre, Launceston. theatrenorth.com.au

Exposed. Restless Dance Theatre Sep 8 & 9 Studio Theatre, Theatre Royal, Hobart. theatreroyal.com.au

Possum Magic. Monkey Baa Theatre. Sep 11 & 12. Theatre Royal, Hobart. theatreroyal.com.au

Twelfth Night by William Shakespeare. Bell Shakespeare Sep 23, Princess Theatre, Launceston, theatrenorth.com.au & Sep 26 - 30, Studio Theatre, Theatre

Royal, Hobart, theatreroyal.com.au

The Paper Escaper. Terrapin Puppet Theatre. Oct 5 - 8, Studio Theatre, Theatre Royal, Hobart, theatreroyal.com.au & Oct 13 - 14, Earl Arts Centre, Launceston, theatrenorth.com.au

… 5, 6, 7, 8 Numbers from the Musicals. John X Presents. Oct 6 - 14. Theatre Royal, Hobart. theatreroyal.com.au

The Glass Menagerie by Tennessee Williams. Hobart Rep. Oct 13 - 28. The Playhouse Theatre. playhouse.org.au

The Boy From Oz. By Nick Enright, featuring the music of Peter Allen. Encore Theatre Company. Oct 20 - Nov 4. Princess Theatre, Launceston. theatrenorth.com.au

BINGO! Stay on the Ball Ladies. Blue Cow Theatre Nov 2 - 4 Studio Theatre, Theatre Royal, Hobart. theatreroyal.com.au

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

Photo: Ken Leanfore. elvisamusicalrevolution.com.au

On Stage

Robyn Archer: An Australian Songbook. Nov 3 & 4. Theatre Royal, Hobart. theatreroyal.com.au

Things I Know to be True by Andrew Bovell. Three River Theatre. Nov 15 - 18. Earl Arts Centre, Launceston. theatrenorth.com.au

South Australia

Lady Day at Emerson’s Bar & Grill by Lanie Robertson. State Theatre Company South Australia, Belvoir St Theatre and Melbourne Theatre Company. Until Sep 9. Space Theatre, Adelaide Festival Centre. statetheatrecompany.com.au

Noises Off by Michael Frayn. Adelaide Repertory Theatre. Until Sep 9. Arts Theatre, Adelaide. adelaiderep.com

Accidental Death of an Anarchist by Dario Fo. The Stirling Players. Sep 8 - 23. Stirling Community Theatre. stirlingplayers.sct.org.au

1984 by Michael Gene Sullivan, adapted from the novel by George Orwell. University of Adelaide Theatre Guild Student Society. Sep 14 - 17. Little Theatre, The Cloisters, University of Adelaide. trybooking.com/CHCCQ

Dracula. Blackwood Players. Sep 15 - 30. Blackwood Memorial Hall. blackwoodplayers.com

The Dictionary of Lost Words. Adapted by Verity Laughton from the novel by Pip Williams. Sep 22 - Oct 14. Dunstan Playhouse, Adelaide Festival Centre. statetheatrecompany.com.au

Hiccup! Windmill Theatre Company. Sep 30 - Oct 7. Space Theatre, Adelaide. adelaidefestivalcentre.com.au

The Vicar of Dibley ChristmasThe Second Coming by Ian Gower and Paul Carpenter. Tea Tree Players. Oct 4 - 14. teatreeplayers.com

Swan Lake. The Australian Ballet. Oct 7 - 14. Festival Theatre. adelaidefestivalcentre.com.au

Ink by James Graham. University of Adelaide Theatre Guild. Oct 12 - 22. Little Theatre, The Cloisters, University of Adelaide. adelaide.edu.au/theatreguild

Next to Normal by Tom Kitt and Brian Yorkey. The Lot Theatre. Oct 12 - 21. Queen’s Theatre, Adelaide. thelottheatre.au

A New Brain. Music and lyrics by William Finn. Book by Finn and James Lapine. Davine Productions. Oct 13 - 21. Star Theatres. davineproductions.com

Cabaret De Paris: A Burlesque Extravaganza. Oct 18 & 19. Her Majesty’s Theatre, Adelaide. adelaidefestivalcentre.com.au

42nd Street. Music by Harry Warren. Lyrics by Al Dubin. Book by Michael Stewart & Mark Bramble. The Metropolitan Musical Theatre Company of SA. Oct 19 - 28. Arts Theatre, Adelaide. metmusicals.com.au

Cyprus Avenue by David Ireland. Red Phoenix Theatre.

Oct 19 - 28. Holden Street Theatres. holdenstreettheatres.com

Gypsy. Music by Jule Styne. Lyrics by Stephen Sondheim. Book by Arthur Laurents. South Coast Choral and Arts Society. Oct 20 - Nov 4. Victor Harbour Town Hall. sccas.org.au

Grow Up Grandad by Gordon Steel. Galleon Theatre Group. Oct 26 - Nov 4. Domain Theatre, Marion Cultural Centre, Oaklands Park. galleon.org.au

Good Grief by Keith Waterhouse. Therry Theatre. Nov 2 - 11. Arts Theatre, Adelaide. therry.org.au

Carrie: The Musical. Based on novel by Stephen King. Music by Michael Gore. Lyrics by

Tasmania, South Australia & W.A.

Dean Pitchford. Book by Laurence D Cohen. Hills Musical Company. Nov 3 - 18. Stirling Community Theatre. hillsmusical.org.au

Little Shop of Horrors. Book & Lyrics by Howard Ashman. Music by Alan Menken. Marie Clark Musical Theatre. Nov 310. Star Theatres. mcmt.net.au

‘night, Mother by Marsha Norman. Holden Street Theatre Company. Nov 7 - 25. Holden Street Theatres. holdenstreettheatres.com

Scarlett O’Hara at The Crimson Parrot by David Williamson. St Jude’s Players. Nov 9 - 18. St Jude’s Hall, Brighton. stjudesplayers.asn.au

Welcome to Your New Life. Based on Anna Goldsworthy’s memoir. State Theatre Company South Australia. Nov 10 - 25. Space Theatre, Adelaide Festival Centre. statetheatrecompany.com.au

The Marriage of Figaro by Mozart. State Opera South Australia. Nov 16 - 25. Her Majesty’s Theatre, Adelaide. adelaidefestivalcentre.com.au

Treasure Island by Robert Louis Stevenson, adapted by Bryony Lavery. Adelaide Repertory Theatre. Nov 16 - 25. Arts Theatre, Adelaide. adelaiderep.com

Robin Hood and the Babes in the Woods by Alan P Frayn. Tea Tree Players. Nov 24 - Dec 9. teatreeplayers.com

Western Australia

Extraordinary Auspol by Dean Lovett and David Cox. BS Productions. Until Sep 9. The Blue Room Theatre, Perth Cultural Centre. blueroom.org.au

Witness For the Prosecution by Agatha Christie. KADS. Until Sep 9. KADS Town Square Theatre, Kalamunda. kadstheatre.com.au

On Stage Western Australia

David Gauci and his Davine Productions music theatre company is celebrating 10 years with another highly anticipated South Australian debut show, A New Brain. With music inspired by Broadway composers like Sondheim, Bernstein, Porter, Rodgers and Hart, the show touches on themes of dysfunctional relationships, life and death struggles and the healing power of time and music

A New Brain will play at Theatre One, Star Theatres in Adelaide from October 13 to 21. davineproductions.com

Sep 9. Bijou Theatre, Esperance. thebijoutheatre.org.au

Park Bench Series by Noel O’Neill. Maverick Theatre Productions. Until Sep 10. Old Mill Theatre. trybooking.com/BXCAJ

The Harp in the South Part 2 by Ruth Park adapted by Kate Mulvaney. WAAPA Second Year Acting. Sep 6 - 9. Enright Studio, WAAPA, Edith Cowan University. waapa.ecu.edu.au

Tartuffe by Molière. Wanneroo Repertory Club. Sep 7 - 23. Limelight Theatre, Wanneroo. taztix.com.au

The Pirates of Penzance by Gilbert and Sullivan. BREC and South West Opera Company. Sep 7 - 10. Bunbury Entertainment Centre. bunburyentertainment.com

One Act Season. Various authors. Darlington Theatre Players. Sep 8 - 16. Marloo Theatre, Greenmount. marlootheatre.com.au

The Enchanted Pig: A Musical Tale by Johnathon Dove and Alasdar Middleton. WAAPA Classical Voice Students. Sep 8 - 14. Richard Gill Auditorium, WAAPA, Edith Cowan University. waapa.ecu.edu.au

Cats by Andrew Lloyd Webber. WAAPA Third Year Music Theatre. Sep 8 - 14. Geoff Gibbs Theatre, WAAPA, Edith Cowan University. waapa.ecu.edu.au

Wise Children by Emma Rice. WAAPA Third Year Acting. Sep 8 - 14. Roundhouse Theatre, WAAPA, Edith Cowan University. waapa.ecu.edu.au

Mary Poppins by Irene Richard M. Sherman, Robert B. Sherman and George Stiles. Sep 9 - Oct 1. Crown Theatre, Perth. marypoppinsmusical.com.au

The Dead Man’s Cell Phone by Sarah Ruhl. Hayman Theatre Company Sep 12 - 16. Hayman Theatre, Curtin University. payments.curtin.edu.au

Tilt. Various authors, WAAPA Third Year Performance Making. Sep 13 - 23. The Blue Room Theatre, Perth Cultural Centre. blueroom.org.au

By The Bog of Cats by Marina Carr. Irish Theatre Players. Sep 14 - 23. Irish Club of WA, Subiaco. irishtheatreplayers.com.au

MLM is for Murder (or Your Side Hustle is Killing Us) by John Bavaso. Garrick Theatre. Sep 14 - 30. Australian premiere. Garrick Theatre, Guildford. taztix.com.au

Jurrungu Ngan-ga (Straight Talk) by Marrugeku. Black Swan State Theatre Company and Marrugeku. Sep 15 - 23. Heath Ledger Theatre, State Theatre Centre, WA. artsculturetrust.wa.gov.au

Sweet

30. Roleystone Theatre, Roleystone. roleystonetheatre.com.au

Not A Clue by Bob Charteris. Stirling Players. Sep 15 - 30. Stirling Theatre, Innaloo. trybooking.com/982116

Banging Denmark by Van Badham. Harbour Theatre. Sep 15 - Oct 1. Camelot Theatre, Mosman Park. harbourtheatre.org.au

Youth Fest. Independent Theatre Association. Sep 1617. Aquinas College, Manning. ita.org.au/youthfest

Robin and the Sherwood Hoodies by Craig Howes. Midnite Youth Theatre. Sep 18 - 20. Drama Centre, Christchurch Grammar School. midnite.ccgs.wa.edu.au

The 25th Annual Putnam County Spelling Bee by William Finn and Rachel Sheinkin.

Stage Whispers

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

Les Misérables by Alain Boublil and Claude-Michel Schönberg. Esperance Theatre Guild. Until

Charity by Cy Coleman, Dorothy Fields and Neil Simon. Roleystone Theatre. Sep 15 -

On Stage Western

Emergent Academy and Arise Productions. Sep 22 - 23. Nexus Theatre, Murdoch University. events.humanitix.com

A Silent Murder. Cluedunnit. Sep 22 - 23. Downstairs at the Maj, His Majesty’s Theatre, Perth. artsculturetrust.wa.gov.au

Alex and Evie and the Forever Falling Rain by Sophie Minissale. Wesfarmers Arts and AWESOME Festival. Sep 2330. The Blue Room Theatre, Perth Cultural Centre. blueroom.org.au

Claire Della and the Moon by Ellen Graham and Jamie Hornsby. every other theatre company and AWESOME Festival. Sep 26 - 30. State Theatre Centre of WA, Perth Cultural Centre. artsculturetrust.wa.gov.au

The Magical Weedy Seadragon by Breaksea. AWESOME Festival. Sep 26 - 30. The Rechabite, Northbridge. trybooking.com/1060830

The Little Mermaid by Doug Wright, Alan Menken and Howard Ashman. Stray Cats. Sep 28 - Oct 1. Mandurah Performing Arts Centre. manpac.com.au

Salted Pretzels by Cezara CrittSchnaars. APK Productions. Oct 3 - 21. The Blue Room Theatre, Perth Cultural Centre. blueroom.org.au

Ruddigore by Gilbert and Sullivan. The Gilbert and Sullivan Society of WA. Oct 514. Dolphin Theatre, University of Western Australia. gilbertandsullivanwa.org.au

Much Stuff by Lilly Boss-Bailey. Top Secret Shh Productions. Oct 10 - 28. The Blue Room Theatre, Perth Cultural Centre. blueroom.org.au

Gypsy by Jule Styne, Stephen Sondheim and Arthur Laurents. Drew Anthony Creative. Oct 11 - Nov 5. The Royale Theatre at Planet Royale, Northbridge. drewanthonycreative.com.au

Curtain Up by Peter Quilter. Primadonna Productions. Oct 13 - 14. Pinjarra Civic Centre. trybooking.com/CIXLR

L.I.F.E (Laughter is for Everyone). Bunbury Musical Comedy Group. Oct 13 - 22. New Lyric Theatre, Bunbury. bmcg.org.au

La Bohème by Giacomo Puccini. WA Opera and Opera Queensland. Oct 19 - 28. His Majesty’s Theatre, Perth. artsculturetrust.wa.gov.au

Grease by Jim Jacobs and Warren Casey. Albany Light Opera Company. Oct 20 - Nov 12. Albany Port Theatre. paperbark.sales.ticketsearch.com

Noises Off by Michael Frayne. PAANDA. Oct 26 - Nov 4. Mouat Hall, Notre Dame University, Fremantle. paanda.com.au

Starkid - The trail to Oregon! by Star Kids. Art in Motion Theatre Company. Oct 27Nov 4. City of Gosnells Don Russell Performing Arts Centre, Thornlie. fb.me/aimtheatreco

Cocktail of Murder. Cluedunnit. Oct 27 - 28. Downstairs at the Maj, His Majesty’s Theatre, Perth. artsculturetrust.wa.gov.au

Clubhouse, Dusk. WAAPA

Second Year Performance Making. Oct 31 - Nov 2. Inglewood Bowling and Sports Club, Mt Lawley. waapa.ecu.edu.au

Everything Flickers by William Gammel, Nathan Calvert and Clea Purkis. stop, drop and roll theatre company. Oct 31 - Nov 18. The Blue Room Theatre, Perth Cultural Centre. blueroom.org.au

The Normal Heart by Larry Kramer. Graduate Dramatic Society. Nov 1 - 9. The Actor’s Hub, East Perth. trybooking.com/CKSJN

The Memory Palaces. WAAPA

Third Year Performance Making. Nov 1 - 3. Partnership with Spare Parts Puppet

Theatre. Ellie Eaton Theatre, Claremont Showgrounds. waapa.ecu.edu.au

Young Truckers. Various authors. Freeze Frame Opera. Nov 3. Holmes A Court Gallery, West Perth. trybooking.com/CHJIY

As You Like It by William Shakespeare. Roleystone Theatre. Nov 4 - 12.

Amphitheatre, Araluen Botanic Gardens. roleystonetheatre.com.au

Democracy Repair Services by Noemie Hutt. Blue Room Theatre and Noemie HuttnerKorov. Nov 7 - 25. The Blue Room Theatre, Perth Cultural Centre. blueroom.org.au

Corranderrk by Andrea James and Giordano Nanni. WAAPA Aboriginal Theatre. Nov 9 - 15. Enright Studio, WAAPA, Edith Cowan University. waapa.ecu.edu.au

Grimm by the Brothers Grimm. Midnite Youth Theatre. Nov 911. Subiaco Arts Centre. artsculturetrust.wa.gov.au

A Life of Gallileo by Bertolt Brecht, translated by Mark Ravenhill. WAAPA Second Year Acting. Nov 9 - 15. Dolphin Theatre, University of WA. waapa.ecu.edu.au

Godspell by Joh-Michael Tebelak and Stephan Schwartz. WAAPA Second Year Music Theatre. Nov 10 - 16. Roundhouse Theatre, WAAPA, Edith Cowan University. waapa.ecu.edu.au

Company by Stephen Sondheim and George Furth. Wanneroo Repertory Club. Nov 16 - Dec 2. Limelight Theatre, Wanneroo. taztix.com.au

Dead Cert. Cluedunnit. Nov 17 - 18. Downstairs at the Maj, His Majesty’s Theatre, Perth. artsculturetrust.wa.gov.au

Peter Pan by James Barrie. Koorliny Arts Centre. Nov 1725. Koorliny Arts Centre, Kwinana. koorliny.com.au

Australia

The Actress by Peter Quilter. KADS. Nov 17 - Dec 2. KADS Town Square Theatre, Kalamunda. kadstheatre.com.au

Once Upon A Pantomime by Tracy Rogers. Darlington Theatre Players. Nov 17-Dec 2. Marloo Theatre, Greenmount. marlootheatre.com.au

Hansel and Gretel by Norman Robbins. Roxy Lane Theatre. Nov 17 - Dec 3. Roxy Lane Theatre, Maylands. taztix.com.au

Dirty Birds by Hayley and Mandy McElhinney. Black Swan State Theatre Company. Nov 18 - Dec 10. Heath Ledger Theatre, State Theatre Centre, WA. artsculturetrust.wa.gov.au

Chicago The Musical. Book by Fred Ebb and Bob Fosse, music by John Kander and lyrics by Fred Ebb. John Frost for Crossroads Live. Crown Theatre. Nov 21 - Dec 10. Crown Theatre. chicagomusical.com.au

The Boy Friend by Sandy Wilson. Garrick Theatre. Nov 23 - Dec 9. Garrick Theatre, Guildford. taztix.com.au

Trivial Pursuits by Frank Vickery. Harbour Theatre. Nov 24 - Dec 10. Camelot Theatre, Mosman Park. harbourtheatre.org.au

Lizzie’s A Darlin’ by Siobhan Wright. Stirling Players. Nov 24 - Dec 9. Stirling Theatre, Innaloo. trybooking.com/982118

The Man From Earth by Jerome Bixbt, adapted by Richard Schenkman. Old Mill Theatre, South Perth. Nov 24 - Dec 9. oldmilltheatre.com.au

The Little Prince by Rachel Portman. Freeze Frame Opera. Nov 24 - 26. Fremantle Town Hall. trybooking.com/CJCDG

Female of the Species by Joanna Murray-Smith, Melville Theatre. Nov 24 - Dec 9. Main Hall, Melville Civic Centre, Booragoon. taztix.com.au

Elvis: A Musical Revolution

Book: Sean Cercone and David Abbinanti. David Venn Enterprises. State Theatre, Sydney. Opening night: Aug 5.

ELVIS of course never really left the building; with Baz Luhrmann’s film and now the premiere of Elvis: A Musical Revolution he’s having yet another comeback.

With snatches of some 40 great hits from the King of Rock’n’Roll, this bio-musical wins from the start, but it’s much more than a jukebox show with slots for songs.

David Venn’s production artfully weaves hit vignettes into a revealing, dramatic narrative from Elvis growing up poor in a coloured Mississippi neighbourhood, to learning the US reality of race in the 1950’s, to forging the sounds of country, gospel and defiant black rhythms of celebration, and at barely thirty achieving global fame and wealth, but also a troubled domesticity and gnawing anxieties.

Rob Mallett is a powerhouse mover and shaker as Elvis, with all the right hip wiggles, splayed legs and swinging arms, but also with Elvis’ early naiveite, charm and those decent virtues of his Mum, Gladys (a convincing Noni McCallum). As Gladys lies dying, Elvis, head in her lap, tenderly sings Peace in the Valley. Mallett has Elvis’ cool drawl and much of his mighty and sensitive singing.

Book writers, Americans Sean Cercone and David Abbinanti, finely exploit the presence of Kid Elvis (a pitch perfect Rhys James Hankey, one of four boys alternating in the role), acting throughout as a motivational touchstone to Elvis through his challenges.

The biggest headache is the relentless pressure from his rather 2D manager, Colonel Parker (Ian Stenlake), pushing him into bad money-making movies; another becomes his wife Priscilla (Annie Chiswell) and earlier, a teenage girlfriend Pixie (Sienna Embrey), and then another problem back at Gracelands is his exploitative widowed Dad (Matt Heyward).

And so jumping in time, we leap through key appropriate moments linked to great songs, with a large ensemble over acting their socks off and arms thrown high kicking through Michael Ralph’s basic rock’n’roll choreography.

Segues between scenes and action are sometimes clumsy and the pace sags in places, but Alister Smith’s direction wins us with the unbeatable songs, the energy and this thoughtful portrait of Elvis and his world. It’s a black and white world back then and such reality footage is well framed in Dan Potra’s gritty design of verticals and horizontals outlined in Broadway globes.

Martin Portus

Online extras!

Meet Elvis: A Musical Revolution’s Rob Mallett on Stage Whispers TV. youtu.be/LXZl4dj4Y1g

Elvis: A Musical Revolution

Photo: Ken Leanfore.

Bloom Book & Lyrics Tom Gleisner. Composer Katie Weston. Direction Dean Bryant. Arts Centre Melbourne, Playhouse. Jul 18 - Aug 19.

AT the Pine Grove ‘retirement home’ understaffed, under-resourced and run by a ruthless cost-cutter, Mrs MacIntyre (Anne Edmonds), the ‘residents’ are frustrated, bored and depressed. Carers, Gloria (Christina O’Neill) and newbie Ruby (Vidya Makan), struggle to keep up. But, as the first big musical number says, they’ve ‘Nowhere Else to Go’.

Into the mix come fiery Rose (always wonderful Evelyn Krape), because ‘they’ say she can’t look after herself any more, and millennial music student Finn (Slone Sudiro); he gets free board if he helps out with the residents. His first song, ‘I Just Need a Break’ keys us into his oblivious sense of entitlement…

Then there’s still sexy Lesley (Jackie Rees), 82-year-old salt-of-the-earth Doug (Frankie J Holden), too shy to tell Lesley he’s got the hots for her, kleptomaniac Betty (Maria Mercedes), fruity, dapper Roland (John O’May), exthespian, and hulking silent Salvatore (Eddie Mulianmaseali’l). As for Anne Edmonds, her Mrs MacIntyre just about steals the show.

One of the great pleasures of Bloom is to see these experienced troupers as the residents, all with great comic

Online extras!

Bloom uses music and choreography to connect us across generations.

youtu.be/riSLQ5MFdvI

timing and the ability to carry a tune. Andrew Hallsworth’s choreography is completely appropriate to the show and these performers. Set design is by the always inventive Dann Barber, here a very realistic retirement home common room plus some corridors and bedrooms and a park.

Katie Weston’s score is upbeat and bright, cleverly incorporating Gleisner’s lyrics. He, of course, is part of the Working Dog outfit and they know exactly what they’re doing. Bloom is positive, upbeat and wildly popular. Gleisner acknowledges that the show could have gone darker, ‘but that would have been another show.’ Bloom isn’t One Flew Over the Cuckoo’s Nest; it’s more Louis Nowra’s Cosi where an unwilling young fellow brings the inmates together. It’s feel-good entertainment in a genre elusively hard to make work but this works.

Michael Brindley

Tim

Adapted by Tim McGarry from the novel by Colleen McCullough. Christine Dunstan Productions. Glen Street Theatre, Sydney. Jul 27 - 30.

TIM, Colleen McCullough’s first novel, created a stir when released, but nothing to compare with her second, The Thorn Birds. For a time the most famous Australian writer, her works were soon scoured for movie material

MTC’s Bloom

Photo: Pia Johnson.

and Tim, the story of a love affair between a labourer with an intellectual disability and a mid-50s business executive, was turned into a successful film starring Mel Gibson and Piper Laurie.

Now, 50 years after the novel was released, a contemporary stage version by Tim McGarry is touring NSW venues, before setting off on an Australia-wide tour in 2024. And it’s well worth seeing.

This is a modern-day affair between Mary (Jeanette Cronin), a respectable middle-aged business manager without a man in her life, and her near-neighbour Tim (Ben Goss), who has been brought up carefully by his family, sheltered from the unthinking malice of the locals.

Tim’s family are well pitched. His mother (Valerie Bader) is a worrier, his father (Andrew McFarlane) puts too much money on the horses but is warm-hearted and thoughtful, and his sister Dee (Julia Robertson) is a fierce supporter of her brother.

The acting is excellent. Valerie Bader plays two characters to the full; Julia Robertson is absolutely right in her defence of Tim; Andrew McFarlane captures the love of his son and, now he’s 20+, the need to give him room; Jeanette Cronin tries to hide her love but fails honourably.

All are in the sure hands of director Darren Yap. Short scenes go whizzing by. The big plus is the set design.

James Browne has delivered a huge bonus with his revolving indoor/outdoor setting. In an instant we are out in a well-leafed garden or inside either house, and it’s all done effortlessly.

Frank Hatherley

Proud

By James Watson. Famous Last Words. Goodwood Theatre & Studios. Jul 29 - Aug 6.

WHEN Jack’s brother marries an immigrant, everyone’s talking. The backyard wedding is a clash of cultures, where footy mates joke, alcohol flows, and his grandfather disapproves.

This new play from Adelaide company Famous Last Words is confronting, not just for what people believe, but why they believe it. It’s cleverly written by playwright James Watson and brilliantly told by one astounding actor, Henry Cooper. As Jack, he’s relatable, he engages us, and it’s an exceptional craft of both writer and actor where a character ‘evolves’ from a carefree larrikin to a raging extremist, espouses such vitriol and barely restrained hate, yet can still find sympathy in the audience.

For quieter moments, Cooper’s words are underscored with a soundscape that’s a light touch, yet still achieves a menacing foreboding of something bad about to happen.

Glen Street Theatre’s Tim.

Photo: Branco Gaica.

Monica Patteson’s lights are almost cinematic, guiding changes in mood and tempo, framing Cooper as he sits, stands, and lies across the sparse set. No more is needed to place us in the back garden, at a smoky barbeque, or in Jack’s bedroom, and clever placement of three chairs tells us who else is there, even though we don’t see them.

Proud won’t leave you comfortable, won’t tell you that you’re not at fault; the language is provocative, and the verbal violence might be triggering for some. It’s difficult to write and speak about far right-wing groups without falling one side or the other, but Watson treads this tightrope carefully.

Mark Wickett

Captain Moonlite

By Jye Bryant. Richmond Players. Richmond School of Arts, NSW. Aug 5 - 26.

RICHMOND School of Arts is perfectly suited to the spirit of Captain Moonlite, a new musical shedding light on one of Australia’s most intriguing historical figures. For those unfamiliar with Captain Moonlite, creator Jye Bryant’s storytelling warmly welcomes us into this captivating era and introduces this fascinating man, via his death cell letters and rich poetry that finds itself in traditional sounds of folk music.

Reviews

Moonlite was an Australian bushranger and cult figure of his time. His notorious exploits are legendary, but what part did sensationalism have in his ultimate demise? What sets this production apart is its courage to address Captain Moonlite’s sexuality head-on, acknowledging his identity as a gay bushranger.

Peter David Allison captures the complexity and charisma of the enigmatic Moonlite with a rugged softness and charm. The show sits firmly on his shoulders, and he is up to the task.

James Nesbitt plays by Michael Clewes, bringing magic into his duet and solo; I would have liked to see more of this character and those beautiful vocals.

Rounding out the small cast of six, Grace LizzioShatpe, Martyn Carter, Lucas Galatidis and Donald Gardiner play various characters involved in Moonlite’s life, notably his gang of unfortunate outlaws.

Creative team John Brown, Susan Brown and Anthony Ashdown’s astute vision delivers an engaging show transporting the audience back to the vibrant and rugged landscape of 19th-century Australia. Each scene was realised through a shift in projection and minimal set pieces busily moved on and off by the cast and stage crew.

Famous Last Words’ Proud

Photo: Ben Allen.

Bryant’s work serves as a reminder of the importance of confronting history’s narratives with empathy and inclusivity. Captain Moonlite is a testament to theatre’s power in reshaping our understanding and perspective on the past.

Nicole Smith

Constellations

By Nick Payne. Sydney Theatre Company. Director: Ian Michael. Designer: Isabel Hudson. Lighting Designer: Benjamin Brockman. Composer & Sound Designer: James Brown. Wharf 1 Theatre. Jul 29 - Sep 2.

A MASTERCLASS in how the action, delivery and intention of actors can completely change the meaning of the same words, Constellations is a ‘two hander’ for two star-crossed lovers, beekeeper Roland (Johnny Carr) and quantum physicist Marianne (Catherine Vãn-Davies). The same fragments of their lives are repeated over and over with slight twists.

The change in the ‘metaverse’ is recorded in the script by a change from bold to normal text. In this elegant

production, the changes are realised with light, sound and skilful acting.

The couple spar on a round platform, with its top and bottom encased in swirling lights. Above them is a ceiling of flowers. The stage is largely a blank canvas set, which makes the production intriguing. When we first see the pair, they vanish and re-appear in light and darkness, meeting for the first time a party.

Marianne has a goofy pick-up line about how difficult it is to lick the very tip of your elbow. At first it feels a bit like the movie Groundhog Day on speed, with the scene repeating as she struggles over and over to get it right and hook her fish.

The acting is brilliant and the two are easy to look at. Roland (Carr), with his roguish appearance and Scottish accent, appears an unlikely match for Marianne (VanDavies). Slowly the audience understands their attraction. We see different phases of their relationship and the alternate directions it might take. It is cause for reflection on how the fate of a life partnership can be pushed off course.

Constellations has a nice balance of humour and darkness.

David Spicer

Sydney Theatre Company’s Constellations.

Photo: Prudence Upton.

Natasha, Pierre & The Great Comet Of 1812 Composer / lyricist Dave Malloy. Darlinghurst Theatre Company. Eternity Playhouse, Darlinghurst. Jul 7 - Aug 27.

SET in Moscow, in 1812, as the Napoleonoc War rages elsewhere, and inspired by a slim slice of Tolstoy’s epic War and Peace (the 70-page Part 8), immersive, quirky Natasha, Pierre & The Great Comet of 1812, dubbed an “electro-pop opera”, envelops the Eternity Playhouse and its audience.

Director Dean Drieberg and set designer Tyler Hawkins have turned the theatre into a highly theatrical circus/ sideshow playground for this rambunctious, playful romp, inventively lit by Veronique Benett. Costuming by Nicol & Ford mixes quasi-period with contemporary twists.

Dave Malloy’s quirky score hooked me the first time I played the Broadway recording, with influences like Russian folk music, pure rock, Broadway and even Weimar cabaret undertones taking it way beyond electro-pop, into a far more eclectic hybrid.

Darlo’s talented ensemble company add an additional ‘threat’ to the usual triple, accompanying themselves, often while simultaneously rampant with Brendan Yeates’ energetic, quirky choreography.

Zoy Frangos nails a jaded rocker disillusionment of Pierre. Grace Driscoll’s Natasha is a performance of range, from optimistic naivety, through heartbreak and desperation. Kala Gare’s warm mezzo as Natasha’s cousin Sonya ensures the credibility of her steadfast confidante relationship. Jillian O’Dowd is comical and imposing as matriarch Marya.

Full of swagger, Jules Pendrith’s notorious lothario Anatole is the vain, arrogant peacock we should love to hate. Attitude and astonishing vocal range make this portrayal an outrageous highlight.

In perhaps the show’s most touching moment, Pierre comforts Natasha in “Pierre & Natasha”, as both find paths forward, and that Great Comet of 1812 appears. The sound mix must be a challenge, with the singer / musicians moving around the theatre; it’s a challenge well met by Dylan Robinson. Huge kudos, likewise to Musical Director Claire Healy.

The joy of this evening at the Eternity Playhouse lies as much in the fun of the boisterous, high-octane production, and the effervescent multi-talented company as the show itself.

Online extras!

Neil Litchfield

Darlinghurst Theatre Company’s Natasha, Pierre & The Great Comet of 1812

Photo: Robert Catto.

Natasha, Pierre & The Great Comet Of 1812 is an electro-pop modern opera. vimeo.com/845780523

Online extras!

See what audiences are saying about Disney’s Winnie The Pooh youtu.be/u-CYM4nKnv8

Disney’s Winnie The Pooh: The New Musical Stage Adaptation

Created by Jonathan Rockefeller. Rockefeller Productions / TEG Life Like Touring. Brisbane Powerhouse. Jul 12 - 16, then touring nationally.

BRISBANE Powerhouse saw the premiere of a new stage version of the classic tales by AA Milne, as elevated to iconic children’s favourite status by Walt Disney. Produced by Rockefeller Productions in partnership with TEG Life Like Touring, and in association with Disney

Theatrical Group, Disney’s Winnie the Pooh is a delightful adaptation featuring puppetry, colour and music, and a good entry-level musical for very young kids. All their favourite characters are here Winnie the Pooh, the loveable bear, his best friend, Piglet, and their mates from the Hundred Acre Woods, Eeyore, Owl, Rabbit, Tigger, Kanga and Roo.

Taking a small smattering of Pooh’s adventures, this production condenses them into a short show that plays with puppetry, voices, humour and simple stage effects that the whole family can enjoy. There is some terrific work by the human cast of upcoming Aussie and Kiwi actors, who perform live while manipulating their almostlife-size character puppets, Bunraku style, where the puppeteer is seen on stage.

Alex Joy was wonderful as Pooh Bear, with a rich Sterling Holloway style vocal range for everyone’s favourite bear. Jake Waterworth was a powerfully positive stage presence as the energetic Tigger. New Zealander

Rebekah Head was delightful as Piglet and Roo, and Andrew McDougall was endearing as Eeyore, Rabbit and Owl. There was also Jess Ridler as Christopher Robin and Jemma Armstrong as Kanga, with Matthew Whitty and Jacqui Dwyer as a range of butterflies, bees and other woodland creatures. It’s hard work being a puppeteer and the cast maintained high energy throughout the show.

Beth Keehn

Parade

Book by Alfred Uhry. Music & Lyrics by Jason Robert Brown. Co-conceived by Harold Prince. Soundworks Productions. Chapel off Chapel. Jul 27 - Aug 6.

PARADE, a multi-award-winning music theatre piece from 1998, begins as a young Confederate soldier goes off to fight in the Civil War. In scene two, it’s 1913 and the folks in Atlanta, Georgia refuse to believe the Confederacy lost that war. They’re even about to celebrate with a Confederate Memorial Day Parade…

Parade reverberates into our present. Based on the true story of the 1913 false conviction of Jewish factory manager Leo Frank for murder, and his lynching in 1915, we have mob violence, hypocrisy, blind ambition, fake news and antisemitism.

It’s a sombre piece but presented here with enormous verve, a universally talented cast, a touching love story, skilled direction and choreography, a great musical score and songs every one of which reveals character and advances the plot. Composer and lyricist Jason Robert

Disney’s Winnie The Pooh: The New Musical Stage Adaptation.

Photo: Ben Fon.

Reviews

Soundworks Productions’ Parade

Photo: Matthew Chen.

Reviews

Brown moves seamlessly between sentimental melodies of the Old South, turn of the century dance, jazz, honkeytonk and non-jarring pop.

The ensemble, many doubling up, are cohesive and disciplined, distinguishing clearly between their characters. James Nation-Ingle plays State Attorney Dorsey who needs a big conviction. (‘Ain’t gonna be enough to hang a nigra this time.’) Itunu Akin Ojelabi as maid Minola plays dumb but with other black servants she wonders if what’s going on would be noticed ‘up north’ if the accused were black. Nic Davey-Greene as Governor Slaton is delightfully elegant and fun-loving, but DaveyGreene makes it credible that he can be shamed into acting ethically.

Leo Frank (Aaron Robuck), the educated Brooklyn Jew, totally out of place in Georgia, is brusque, and unfeeling until he realises how much his wife loves and supports him. Robuck is pitch perfect and his singing (he is also a cantor) goes straight to the heart. And Montana Sharp, with her beautiful voice, brings a moving dignity, courage and stoicism to Lucille Frank.

Director Mark Taylor maintains the energy and the pace and elicits powerful and effective performances. He and choreographer Freya List collaborate on movement throughout and create a trolley ride, street scenes and street parades, dances, protest marches and a lynch mob.

In applauding and endorsing this show, one must also do the same for producer and musical director Benjamin Samuel and Soundworks Productions. In these times, a thoroughly professional show with an all-talented cast of seventeen, period costumes, and a ten-piece band is no mean feat.

Michael

Miss Peony

Brindley

By Michelle Law. Belvoir St Theatre. Jul 1 - 29, then touring.

GLITZY, quirky, funny and searingly honest, Miss Peony is a fascinating glimpse into a world most Australians would not be familiar with, but immigrants from all nations can relate to. That is, when someone slips inbetween the worlds of the old country and the new country.

Lily (Stephanie Jack) is an assimilated Asian Australian, confronted by the deathbed wish of her grandmother to follow a family tradition.

Adeline (Gabrielle Chan) tells her grand-daughter that she can’t pass peacefully into the other world until she takes part in a distinctively Chinese custom of entering a beauty pageant known as Miss Peony. To make sure she goes through with it, Adeline’s ghost sticks around to haunt her. The charismatic granny has amazing long hair which spins like a helicopter.

The play is performed in English, Cantonese and Mandarin with subtitles.

At Adeline’s funeral, a rude aunt needles Lily to enter the pageant because she is ‘not too ugly’, but she resists being involved in an event she describes as ‘trashy’. Once coaxed into taking part, Lily navigates the treacherous and bitchy world alongside rivals and chums.

In the second act, the play comes alive with the sizzle of the grand final of the pageant. The host is the only male in the cast, Vincent (Charles Wu), who milks the glitzy aspects of the occasion. He segues from thanking sponsors, to spinning nifty dance moves and keeping his hormones in check as far as possible.

The contestants compete in categories including talent, calligraphy, and fan dancing.

The set comes alive with lights and sparkles, with even some of the costumes igniting in fusions of colour.

Although it is a heightened version of reality, there are enough moments of authenticity based on real world events to make it work.

One of the characters says that minorities spend so much time fighting amongst themselves to avoid having to tackle the outside system which discriminates against them.

Lots of pearls of wisdom like this drop throughout the play.

David Spicer

Top Girls

By Caryl Churchill. Ad Astra, Brisbane. Jul 20 - Aug 12.

CARYL Churchill starts her play with a party of historical female dinner guests arranged by newly promoted ‘Top Girls’ employment agency exec, Marlene (Aurelie Roque) in 1979. She has brought together an unlikely mix of feminist icons: 19th-century explorer and writer Isabella Bird (Natasha McDonald), 13th-century concubine and Buddhist nun, Lady Nijo (Jazz Zhao), Dull Gret, as painted by Bruegel (Chelsea Doran), Griselda from Chaucer’s Canterbury Tales (Brigitte Freeme) and Pope Joan, who reigned briefly disguised as a man in the middle ages (Anastasia Benham). Director Mikayla Hosking controls the action superbly with pinpoint performances by a fascinating ensemble of Brisbane’s own Top Girls, who show their strength in drama and comedy. For this feminist piece, the whole creative team are women, including lighting design by Claire Yorston, and sound design by Rosie Richardson. The capacity crowd of Brisbane theatre-goers proves there’s an appetite for reflective drama that’s well cast and succinctly produced by a top creative team.

Beth Keehn

Online extras!

Critics resoundingly praised Belvoir’s Miss Peony. Scan the QR code or visit youtu.be/vIW46jF7oUA

Belvoir’s Miss Peony.

Photo: Sherry Zheng.

PERFORMING ARTS MAGAZINE

SEPT/OCT/NOV 2023. VOLUME 32, NUMBER 4

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Musical Spice

You Don’t Have To Be Jewish

My local council in Sydney decided to undertake a major renovation of its theatre at what turned out to be the perfect time during the pandemic. I am talking about the Bondi Pavilion Theatre, which is squeezed onto the first floor of the grand building on Bondi Beach, built in 1928 for changing rooms and Turkish Baths.

The pavilion is now beautiful to walk around, but the theatre remains a little hidden. The Bondi Theatre Company (as I named it) staged three seasons between 2017 and 2019. Being on the beach sounds good in theory, but in practise, thousands of sunbakers and swimmers walk past without being aware of the performing arts venue.

To attract attention, I have programmed shows targeting particular demographics. In 2017 it was mothers (Motherhood the Musical), in 2018 it was cooking fans (Margaret Fulton the Musical) and in 2019 it was lawyers (Bondi Legal)

For our comeback in 2023, I am targeting the local Jewish community, staging the Australian premiere of a stage adaptation of a radio show from 1965.

It might sound obscure, but the albums have a cult following. Stage versions have been produced in the United States, with the most recent in Los Angeles and Miami under the direction of Jason Alexander.

Such is the popularity of sketches from the albums, You Don’t Have To Be Jewish and When You’re In Love The Whole World is Jewish, that when I attended a Jewish community event, two thirds of the audience knew of them.

I asked them for their favourite sketch and there was fierce debate between The Reading of the Will, The Plotnik Diamond and A Call from Long Island.

The writer is still going strong. Bob Booker is 92 and I correspond with him every week. He sent me past scripts, audio files, file photographs, and has given us permission to pick which sketches and songs would suit our audience. He

tells me that you don’t have to be Jewish to like his albums. Humour very often has a shelf life, and some of the sketches were no longer appropriate, but what is amazing is how funny so many of the sketches still are.

Bob Booker’s first hit was a satire of President Kennedy called The First Family, which won him a Grammy but was completely of its time. It was so popular that President Kennedy gave copies to his friends as presents.

Distressed at Kennedy’s assassination, Booker steered clear of politics and came up with the idea of a comedy album about the history of the Jews.

The ideas sprang from jokes told to him at a lunch of legendary Jewish comedians including Zero Mostel. If not for his casting in the original production of Fiddler on the Roof, Mostel may well have been on the original album.

Booker says the album is still popular today because “funny is funny”.

“It was the heart and soul that other humour does not necessarily have, because the people behind it have the heart and soul, and the gift of humour.”

Authenticity in casting is very important today and I believe that producers should strive for, but not be bound by it, if they do not have the talent to fill a particular role.

I am happy to report that 5 out of the 6 actors are of the faith, but the lonely gentile looks so Jewish, that we suspect there must have been a connection to the twelve tribes of Israel at some point in time. He’s definitely on the way to being converted to Jewish humour, as the audience will be.

David Spicer

You Don’t Have To Be Jewish

Bondi Pavilion Theatre

October 25 to November 5. Emanuel Synagogue from November 15 to 19. bonditheatrecompany.com.au

Buster Skeggs, Linal Haft, Andrea Ginsberg, James Burchett, Liv Hovey and Geoff Sirmai.

Photo: Lindsay Kearney (Lightbox Photography).