THE MONTHLY PUBLICATION OF THE THEATRE ASSOCIATION OF SA INC VOL 28 NO 7 AUGUST 2013
NOW IS THE WINTER OF OUR DISCONTENT Tricky Dicky at Theatre Guild! Page 5
LATEST REVIEWS Phantom, Oliver, Hay Fever, Alice, Fox and Drinking Habits Page 7
Wildly funny, terribly serious Therry are staging Noel Coward’s “oh so stylish” Private Lives this month Imagine walking out onto the hotel balcony on the first night of your honeymoon only to find your ex-‐wife is in the room next door! Elyot is celebrating his second marriage to Sybil in a stylish hotel in France. In the adjoining suite his former spouse Amanda is in romantic mood with her new and much younger husband Victor. The scene is set for quite a fight in Noel Coward’s fast-‐paced comedy Private Lives, which is being directed by Barry Hill for Therry Dramatic Society from August 22. John Koch and Dianne Lang star as the divorcees forced into bickering on the terrace after a volatile marriage and five-‐year separation on what should be a romantic holiday for two! Elyot and Amanda separately beg their new mates to leave the hotel with them immediately, but both new spouses refuse to cooperate and each storms off to dine alone. Realising they still love each other and regret having divorced, Elyot and Amanda run off together to her flat in Paris. But the story doesn’t end there. Written by the master of acerbic wit in 1930, the play includes a famous love scene originally regarded as too risqué! It’ll be fun to see how tame it appears to a modern audience at Adelaide’s Arts Theatre. The original production, starring Noel Coward himself with Gertrude Lawrence and Laurence Olivier, received mixed reviews yet the playwright was undeterred.
“the play includes a famous love scene originally regarded as too risqué.”
"The critics described Private Lives variously as 'tenuous, thin, brittle, gossamer, iridescent, and delightfully daring',” he wrote.
John Koch and Dianne Lang as Elyot and Amanda in Private Lives
“All of which connoted in the public mind cocktails, repartee and irreverent allusions to copulation, thereby causing a gratifying number of respectable people to queue up at the box office!” The play has been made into a 1931 film, adapted several times for television and revived at least a half dozen times each in the West End and on Broadway attracting a wide range of actors including Richard Burton, Alan Rickman, Matthew Macfadyen, Elizabeth Taylor, Maggie Smith and Kim Cattrall. Allison Scharber, Brad Martin and Tamara Bennetts also feature in Therry’s production. What: Private Lives When: August 22-31 Where: Arts Theatre, Angas St, City How: 8296 3477 or 8410 5515 from August 19
ENCORE EDITORIAL August 2013
The monthly publication of the Theatre Association of SA Inc.
Editor: Dave Simms E: email@example.com T: 0409 255 181
“Let’s face it, we all love a good review, and hate a bad one. Frankly many of us are glad to get any review at all!
Senior writer: Benjamin Brooker SUBMISSIONS AND DEADLINES: Members can provide flyers, photos, articles, media releases, notices by 15th of the month for free inclusion.
That’s one of the reasons we include reviews in Encore.
Please supply flyers or posters as in colour in portrait A4 shape. Colour photos should be at least the size of a postcard and between 500kb and 2MB.
As the media world changes many groups simply won’t get a review apart from the one we aim to provide. Editor Dave Simms
And as part of our TASA charter to encourage best practice in non-‐profit theatre we’re renewing our focus on providing reviews which offer constructive peer-‐to-‐peer criticism. Our reviews should provide you with praise for a job well done and/or suggestions for improving aspects of your production.
To help achieve this we’ve expanded our team of reviewers to include Janice Bailey, Paul Davies and Lesley Reed. They join Kerry Cooper, Fran Edwards, Ceri Horner, Richard Lane, Jacqui Mulady, Dave Smith, Sally Putnam and Dave Smith. All our reviewers volunteer their time, so thanks team! And special thank you to Wendy Mildren who bows out this month. Thanks for driving to all those shows, Wendy.
NOTICEBOARD August 2013
Hopefully our reviews not only encourage larger audiences, but also give you some tips to get even better next time!”
AUDITIONS DATE: Sunday August 4 at 1.30pm VENUE: Bakehouse The atre, 255 Angas St, AD ELAIDE SHOW: Thief of Time COMPANY: Unseen Th eatre DIRECTOR: Pamela Mu nt SEASON: November 8-2 3 REHEARSALS: Tue, Thu . Sun evenings, from Aug 26 ROLES: Susan (DEATH 's granddaughter, and a school teacher) (stage age 20' s) (7 scenes), Madame Frout (Headmistress) (middle aged) (1 scene only), Mrs . War (nagging wife of WAR) (middle aged) (2 scenes only), Famine (any age over 18 or gen der) (2 scenes only), Pes tilence (preferably male, any age over 18) (2 scenes only) Contact the director – pamela@unseentheatre .com.au
GUIDE AWARDS ADELAIDE THEATRE ber 14 from 6.30pm DATE: Saturday Septem ELAIDE , 262 Carrington St, AD ntre Ce ian VENUE: The Ital s ard SHOW: Curtain Call Aw rse meal, drink on arrival, Ticket includes three cou ons. n Call Awards presentati entertainment and Curtai . kets are $80 Dress code is formal Tic om/49734 Bookings: trybooking.c
We invite submissions for publication. Any material received will be taken as permission to publish. The Editor reserves the right to reject or edit all contributions. Expressions of opinion by any contributor must not be considered to be the opinion of the editor or of the association and no responsibility will be accepted for any matters arising therefrom. Advertisers are advised that all advertising copy is their responsibility under the Trade Practices Act and the Copyright Act. Information is assumed to be correct at the time of printing and no responsibility is taken for any errors or omissions. THEATRE ASSOCIATION OF SA INC. PO Box 187 PARK HOLME SA 5043 Affiliated with Association of Community Theatres, NSW
The TASA Committee: President: Fran Edwards; Vice-President: Laraine Ball; Secretary: Jacqui Mulady; Treasurer: Patsy Thomas; Committee members: Therese Hornby, Aaron MacDonald, Paul Rodda, Dave Simms.
WCOMER MBLE ROLE -SUIT NE YOUNG MALE ENSE ious roles in ing lad’ needed for var ROLE: 20s/30s fit ‘strapp er, tak der Un Ambulance Man, ensemble cast - Lout, Would suit s. role ing eak -sp non small Workman, various other to learn. n kee and but enthusiastic someone new to theatre Van SHOW: The Lady in the yers COMPANY: Stirling Pla DIRECTOR: Dave Simms 9 SEASON: October 4-1 rs Thu , Tue LS: SA AR REHE Dave Simms at Contact the director 181 com or call 0409 255 ac. @m davemixedsalad
NEWS FROM M ARIE CLARK M USICAL THEATR E It gives us great ple asure to announce that after a Special General Meeting, it was voted to ke ep Marie Clark aliv decided that we e. It was will put our major production for the half of this year (As second pects of Love) int o recess, but spen efforts fund raisin d our g. We are hoping that after 6 month can re stage this s off we production in 2014 . Stay tuned for mo re info and how yo u can be involved the coming week over s. More info: marie clark.asn.au
PREVIEWS August 2013
The waltz master’s musical feast SALOS presents The Gipsy Baron - Johann Strauss II’s comic operetta
Native American lore and music Pocahontas arrives in Stirling
SALOS prepare to enjoy the wonderful music of the immortal Strauss.
“The Gipsy Baron is a perfect example of why Johann Strauss remains regarded as a master of the waltz,” says Pam Tucker who’s in the director’s chair for the SALOS production of the comic operetta which opens on August 22. The delightful tale is set in Hungary in the summer of 1850 and tells of the love between Saffi, the gipsy princess, and Sandor Barinkay. Returning from “A lively band Hungary after the death of his of gipsy women flirt exiled father, with the men.” Barinkay resumed ownership of his family’s castle and estates, both of which are inhabited by gipsies. Barinkay then took the title of the Gipsy Baron. Czipra, the queen of the gipsies, gives news of Barinkay’s imminent arrival to Kalman Zsupan who owns the adjoining property. Complications arise as his daughter Arletta and housekeeper Mirabella plot to attract the attention of their new neighbour and marry him, thus inheriting the gold rumoured to have been hidden in the castle. Kareska, the
Royal Commissioner, is another plotting to acquire the treasure. Such well-‐known songs as Gipsy Love, The Treasure Waltz and Danube, River of Dreams, are highlights of the show, while popular duets Dare I Believe My Heart and Love Can Be True will take those who remember back to the good old days of Jeanette MacDonald and Nelson Eddy. Red-‐coated hussars will make a colourful entrance as they march triumphantly home from the war and tell of their experiences In the Army. The lead roles will be played by soprano Katrin Treloar and tenor James Murphy, whilst newcomers Ashleigh McFadden and Chris Evans will add to the comic element provided by baritone Matthew Holding. A lively band of gipsy women, led by contralto Spring Whenan and soprano Victoria Williamson, will light up the stage as they flirt with the men. Other roles will be played by contraltos Sandra Fameli and Joy Bishop, baritone Noel Carthew, soprano Christine Southby and bass Greg Paterson. What: The Gipsy Baron When: August 22-25 Where: Tower Arts Centre, Pasadena How: 8294 6582 or salos.websyte.com.au
The rhythmic beat of tom-‐toms will be heard the length and breadth of Avenue Rd in Stirling from August 10. The senior students of the Hills Youth Theatre are staging the dramatical musical Pocahontas. A delight for all age groups, this charming musical adventure written by Vera Morris with music by Scott Deturk will be directed by Judy Sampson. Pocahontas is the daughter of the mighty Algonquin Chief Powhatan. The princess delights in playing with Raven, Wolf and Squirrel. Pocahontas has also made friends with the English settlers of Jamestown, a community struggling with starvation and sickness. This enchanting musical is graced with a wonderful cast of characters: Little Running Rabbit, Brave Eagle, Aunt Morning Star, Forest Spirits, Mother Earth and, of course, the people of Jamestown. Filled with Native American lore and beautiful music, this play is true to the original legend. Audiences will be swept away with DeTurk's original music, featuring such songs as Live Forever, No Common Ground and the beautiful Your Heart Always Knows. What: Pocahontas When: August 10-18 Where: Stirling Community Theatre How: 8339 3931
PREVIEWS August 2013
Meet my husbands Multiple hubbies and mistaken identities at Tea Tree Players! If you want to get ahead in advertising you’ve got to be good enough to sell ice to the eskimos. Or sausages to the Swiss! But bangers aren’t the only thing that need some creative spin in Meet My Husbands, a Fred Carmichael farce at Tea Tree Players from August 21. Advertising executive Elaine Scott is in Florida to meet the Mulgrews, some European clients who she has to convince to adopt her agency’s campaign for Swiss Mountain Sausages. She’s going to need all her powers of persuasion to convince this tough cookie! “Can Elaine’s Mr Mulgrew insists the campaign and all those connected with it must reflect wholesome family values, so Elaine desperately needs to find an on-‐the-‐spot husband to help with the sales pitch.
campaign to boost banger sales survive? Can she save the sausages?
She sets her sights on beach bum Tim Billings -‐ who she hires to pose as her spouse. In true farcical style her real husband arrives unexpectedly at the hotel and chaos ensues.
Brendon Cooney, Selena Britz, Adrian Heness and Ben Kempster
The balcony between their hotel suites becomes a comic causeway, as they try to find out why a newspaperwoman is prying about, who Tim Billings really is, and why Elaine’s opportunistic former husband has appeared on the scene. Can Elaine’s campaign to boost banger sales survive? Can she save the sausages? Selena Britz stars as Elaine Scott, with Nick Hargreaves as Mulgrew, Brendon Cooney as Tim, plus Adrian Heness, Chris Galipo and Ben Kempster among the cast. Damon Hill directs this hilarious, fast-‐paced comedy from the writer of more than 40 plays. What: Meet my husbands When: August 21-31 Where: Tea Tree Players Theatre, Yatala Vale Rd, Surrey Downs How: 8289 5266
Benjamin Brooker previews Adelaide University Theatre Guild’s production of Shakespeare’s favourite villain Richard III. Richard III remains amongst the most frequently performed of Shakespeare’s histories. Though historically dubious, its nature as a star vehicle and its themes of guilt, betrayal and power at all costs have seen it re-‐imagined by successive generations of film and theatre makers. It has spawned two immortal silver screen performances – by Laurence Olivier in 1955, and Ian McKellen in 1995 in a version which transported events to an alternate, fascistic Britain in the 1930s.
PREVIEWS August 2013
I am determined to prove a villain, and hate the idle pleasures of these days
Director Megan Dansie is bringing her unique vision of the play to the University of Adelaide Theatre Guild this month. One reason for the seemingly unflagging interest in the play, she opines, is its adaptability. “I saw a very good English production twenty or twenty-‐five years ago which had Richard as a shaven-‐headed businessman,” she smiles. Megan’s starting off point for this production, however, was not the corporate world or the boardroom, but imagining the effects of 40 years of civil war on a contemporary society. “In the early stages of rehearsals, we had discussions about the London riots, about what has gone on in Egypt and Syria…” Shakespeare’s play, the last in a “our Richard is a cycle of four psychological, history plays, not physical begins after monster” decades of civil war between the House of York and the House of Lancaster have ended with peace under the reign of King Edward IV and the victorious Yorks. Edward’s younger brother Richard, however, resents the King’s power. Ambitious and bitter about his physical deformity, Richard aspires to the throne and is determined to kill anyone who gets in his way. The historical accuracy of the play has been hotly contested over the years. It
Paul Duldig, Bart Csorba and Celine O’Leary
is widely believed the play was written to demonise Richard, and turn his successor, Henry VII, into a hero. “I’m definitely of the ‘Richard is innocent’ school,” Megan agrees. “I mean, the play is basically Tudor propaganda.” The one thing that everybody remembers about Richard III is that limp. Olivier’s rendering of Richard’s deformity, described by Professor Richard Harrison as “the slit-‐eyed, snaky, deformed embodiment of evil”, has passed into theatrical legend and remains the play’s most enduring image. Megan says her Richard, to be portrayed by Bart Csorba, will be quite different, though she is reluctant to reveal too much. “Bart has really built the character from the inside out,” she says. “We have had discussions about scoliosis and so on, but our Richard is a psychological, not physical monster.” One of the key difficulties Megan has faced is the play’s enormous cast. “We have 22 actors and over 90 costumes,” she says with a mixture of awe and weariness, “and that’s after compressing numerous roles, removing some altogether, and cutting
about 800 lines!” Megan is playing her cards close to her chest in regards to the play’s staging, but warns audiences not to expect an elaborate set. “We’re definitely going to use the Little Theatre space to its fullest,” she enthuses, “but lighting and sound are going to be far more important.” A street artist has been commissioned to contribute to the production’s design. “I can’t say too much,” Megan says in a hushed tone, “but I can promise you the whole thing is going to look and sound incredible!” In addition to Bart, the large cast comprises a diverse range of new and experienced faces including Alex Antoniou, Rachel Burfield, Tony Busch, Gina Cameron, Joshua Coldwell, Bart Csorba, Peter Davies, Geoff Dawes, Paul Duldig, Alice Edgley, Gary George, Miriam Keane, Steve Marvanek, Imogen Nicholas, Celine O’Leary, Vanessa Redmond, Cate Rogers, Sam Rogers, Tim Williams, Jamie Wright, Jonathan Zagler and Amin Zargarian. What: Richard III When: August 3-17 Where: Little Theatre, University of Adelaide How: adelaide.edu.au/theatreguild or BASS
INSTANT INTERVIEW August 2013
ENCORE INSTANT INTERVIEW Director and performer Pam Tucker answers our quick fire questions about her theatrical life ★What’s your happiest theatre memory? Playing Marianne in The New Moon and secretly singing One Kiss to my husband who was sitting in the audience. ★What was your worst theatre moment? When I forgot the words in Ruddigore and made up a whole verse about nothing. ★The best lesson I ever learned was… Never panic, even when your costume comes adrift. Keep looking at the audience and pretend that all is well! ★What’s the trickiest thing you’ve attempted in theatre ? Ad libbing with Pooh Ba in The Mikado for three minutes while waiting for Yum Yum and Nanki Poo to come on stage. They were watching the show from back-‐ stage eating ice-‐creams! ★The time I get most nervous is.....Just before going on stage, or when the crits are about to come out.
★What is your most treasured theatre memento or gift? A letter of thanks from the cast of Pirates of Penzance, after directing my first show. ★My theatre superstition is..Don’t say ‘Break a leg.” I did, just before a show, skiing at Falls Creek. ★What’s a secret or tip you can share? Record all your lines and songs and play them back in the car. ★The person I admire most is…The wonderful musical conductors (Peter Potts, Helen Loveday) who have control of the show once it starts. ★What was the last play you saw or read and was it any good? St Judes’ The Fox on the Fairway. It was very funny. ★What’s your biggest theatre gripe? Performers who don’t turn up for rehearsals. ★ What’s the biggest challenge in
your current project? Getting the humour and excitement of The Gipsy Baron through to the audience. ★ The show I dream of doing is… Annie Get Your Gun ★What are you doing next?Directing the SALOS Christmas show – the 200th show I have performed in/directed. Pam Tucker directs The Gipsy Baron for SALOS When: August 22-25 Where: Tower Arts Centre, Pasadena How: 8294 6582
Hills Youth Theatre proudly presents
Pocahontas Written by Vera Morris. Music by Scott DeTurk. Directed by Judy Sampson.
Performance times August 2013
Sat 10th @ 5.30pm. Sun 11th @ 2.30pm. Friday 16th @ 7.30pm. Sat 17th @ 5.30pm. Sun 18th @ 2.30pm.
BY WILLIAM SHAKESPEARE
Kids, come dressed asite your favour story bookr a fo character age walk on st At the Stirling Community Theatre, 7 Avenue Road, Stirling Tickets available from 22 July 2013 at Matilda Bookshop, 8 Mt Barker Road, Stirling. Ph: 8339 3931
MEGAN DANSIE RICHARD PARKHILL With BART CSORBA as Richard Directed by
Adults $15.00, Child/Concession $12.00 Family $48.00 (2 adults, 2 children) $1.50 per each ticket booking fee
Lighting Design by
SAT 3, TUES-SAT 6-10 & 13-17 AUGUST 2013, 7.30PM LITTLE THEATRE The Cloisters (Off Victoria Drive), University of Adelaide TICKETS $28 Full / $23 Concession BOOKINGS www.adelaide.edu.au/theatreguild* or BASS 131 246* (*fee applies)
The Theatre Guild acknowledges the generous support of the University of Adelaide as its principal sponsor
2061 A SPACE IDIOCY
Matt Byrne Media
Tea Tree Players Youth
Review by Dave Smith July 4 2013
Review by Dave Smith July 11 2013
Review by Ceri Horner July 19 2013
Having taken the courageous decision to tackle The Phantom of the Opera, director Matt Byrne succeeded in capturing its essential darkness and mystery. Rodney Hrvatin added to that with his adept handling of the concealed orchestra.
The Tea Tree Players do a lot of things well. Developing young performers is certainly one of them. Furthermore, they retain them, often for many years. Consequently their youth and junior groups have a pleasing balance of experience.
Based on the classic Charles Dickens novel Oliver Twist this musical was adapted in 1960 with book, music and lyrics by Lionel Bart.
The set and costumes were striking and effective in bringing the right mood to the piece. This production did well to adapt them to the Arts Theatre’s relatively restricted performance area.
That was obvious in their production of 2061 A Space Idiocy, a comic, far-‐ fetched space musical, co-‐directed by Penny and Michaela Phillips.
Although well known, the story needs to be clearly portrayed and this production managed that well. Michael Bates was a commanding figure as the Phantom and he grew in confidence and power as the play progressed, bringing a broad dramatic and vocal range to his performance. Ellonye Keniry provided a vulnerable foil to Michael’s character. She, too, brought an increasing depth to Christine’s character through the course of the action. Will Daniels looked the part as Raoul and carried himself well. David Gauci as Piangi and Dione Baker as Carlotta were splendidly satirical as the company’s opera leads, while James McCluskey-Garcia and Michael Williams worked well with each other as the owners. While there were some early problems with hesitation, pitch and timing, the company worked well to bring unity and purpose to the production. They handled the ensemble singing well. Prima Donna was a hit, as was Masquerade which opened Act 2. Sue Pole’s tight choreography was prominent in that piece too. All power to Matt Byrne Media for taking on the challenge!
The cast generally handled the puns and corny sight gags with ease even when the audience didn’t quite get them. Other jokes were obvious, such as the ‘Show some guts’ line, and drew both laughs and good-‐humoured groans. There were several impressive performances. The cleaning ladies, Ethel and Hazel, played by Zach Taylor and Rhiannon Shapcott set the mood with life and humour. Ethan Dight was solid as the Captain, as was Lachlan Blackwell as Spook. Kelly Campbell looked and sounded the part as Princess Barbie, while Joshua Brownlie as SPC, Jeremy Smith as IXL and Coby Hefford as Homebrand were lively and funny. Caleb Bond stood out as the irritating Spotsworth. His voice, nervous energy and mannerisms were reminiscent of Frank Spencer and he had a similar effect on the audience. His was a very capable and confident performance. The choruses worked well, especially the Silver Androids who were well rehearsed. The recorded music was well balanced with the voices which, refreshingly enough, did not need amplification for either individual or ensemble singing. In all, Tea Tree Players did well with this breezy musical comedy.
OLIVER! G & S Society
REVIEWS July 2013
PHANTOM OF THE OPERA
This terrific production was performed by a very capable and talented cast, with direction and choreography by David Lampard and a precise and tuneful orchestra conducted by Peter Johns. Opening night featured Jack Raftopoulos as a sweet and innocent Oliver, making a great contrast to Isaiah Fabro playing a confident and cheeky Artful Dodger. The adults in this show are also well cast. Rod Shultz has a voice that you never tire of hearing and showed his versatility as the conniving Fagin who managed to steal a scene or two! Emma Bargery was perfect as the cheap and cheerful Nancy. She knows how to sell a song and the energy lifted every time she lead the chorus. Paul Talbot was wonderfully menacing as Bill Sikes, creating a dangerous and disturbing presence every time he loomed. There were also great performances from John Greene as Mr Bumble, Wendy Rayner as Old Sally and David Lampard and Vanessa Lee Shirley as Mr and Mrs Sowerberry. Technical elements were also spot on, with lighting design by Daniel Barber working extremely well with the brilliant set and adding to the dangerous feel of industrial London. The flawless audio was designed by Matt Curtis and operated by Jamie Mensforth. The director’s interpretation didn’t have the energy or choreography that you might expect in the big musical numbers, and the projected video was used on the set with mixed success.
REVIEWS July 2013
FOX ON THE FAIRWAY
DISNEY’S ALICE IN WONDERLAND
St Jude’s Players
Adelaide Youth Theatre
Review by Lesley Reed July 20 2013
Review by Wendy Mildren July 25 2013
Review by Lesley Reed 26 July 2013
This comedy of manners in which the eccentric and self-‐obsessed Bliss family host a motley assortment of house guests was described by Noel Coward as “one of the most difficult plays to perform that I have encountered”.
St Jude’s latest production is a rollicking farce written by Ken Ludwig and directed by Ian Rigney (affectionately known as the Master of Mirth).
Curiouser and curiouser… how did Adelaide Youth Theatre mount such a disciplined, delightfully different production with just seven full days of rehearsals?
Congratulations to Blackwood Players for being brave enough to stage it with a generally inexperienced cast. While there were some good moments, the production fell short on several fronts. The writing is economical and razor sharp, so pace matters. The pace on the night I saw this production was very slow and the set was disappointing;. It consisted of a rundown and clearly uncomfortable two-‐seater together with other assorted furniture on a bare stage which did not achieve the relative minimalism director Damien White wanted, nor did is suggest the privileged life of the Blisses. Rosie Williams, as daughter Sorel Bliss, was the most successful in portraying the Coward style. Nicole Seal, as mother and West End star, Judith Bliss, was solid, but less shrillness and more predatory sexuality was needed. Ben Todd didn’t quite hit the mark in the difficult role of the cynical author and father, David Bliss. Mitchell Lowe was clearly nervous in his role as Simon Bliss and needed to develop more ‘brat’ as the spoiled son. Scott Brokenshire and Mikhaila Dignam successfully portrayed the underlying sense of confusion and belittlement experienced by the visitors. Their scene together when the hosts deserted them was delightful.
Paul Hutchison, as Sandy Tyrell, drew giggles from the start and Miffy Davis, as Myra Arundel, was suitably sophisticated.
The show is all a farce should be with cues picked up promptly to create the fast pace. The president of Quail Valley Gold and Country Club has roped in a star golfer in a desperate bit to win a tournament his club has lost five years running. The opposing president goads him into a $200,000 side bet then gets the star golfer to switch sides! Andrew Horwood as president Bingham was splendid using his expressive face and body wonderfully well. Lindsay Dunn played Bell, the opposing president, well complete with bilious jumpers and annoying little giggle. Shelley Crooks who played Pamela Peabody, the Club Secretary was superb, and nearly stole the show spitting out her lines with great venom and timing. Brady Lloyd used his gangly body to great effect bringing immense athleticism and energy to the role. Charlotte Batty who played the love of his life, Louise Heinbedder was sufficiently hysterical and girly and Joanne St Clair as Muriel Bingham was great as the strong militant woman with a hidden feminine side. Ian Rigney’s direction was first class and extracted every ounce of humour. This reviewer, however, is not a great fan of farce and the opening scene where everyone is running in and out of doors was about five doors too many. The set, designed by Robert Aust and built by a cast of millions, was spectacular and dressed to perfection. Lighting and sound were done smoothly and efficiently.
Ably directed by Tori Handley, together with Serena Martino- Williams’ fine musical direction, the assured performances of the 7-‐13-‐ year-‐old Diamond junior cast captivated the capacity audience. As Alice, Tanisha Kirk-Demetri sang beautifully and has genuine star quality. Nathan Stafford was a scene stealer with his charismatic and cocky take on Caterpillar. Elisabeth Anderson and Amelia Sanzo were delightful as Tweedle Dum and Tweedle Dee. Bella Baggio, Eliza Waterhouse and Mimi Stanbury had great comic timing as the disconnected parts of the Cheshire Cat. Jayden Prelc was a fine White Rabbit, while Paige Dobie, Montana Vincent, Hannah Heading and India Lumbers sparkled as a sassy group of flowers. Jacob Maiolo, Onor Nottle, Kieley Donhardt and Rory Adams produced terrific characterisation in their respective roles of Mad Hatter, March Hare, Doormouse and DoDo Bird. Lucy Grear was great as the Queen of Hearts, contrasting well against the sweet King, played by Richard Mayfield. The ensemble of additional young performers was disciplined and energetic. Technically the production was very good, despite some sound issues. Alexandra Cornish’s choreography was innovative and costumes and makeup were excellent. The director, musical director and choreographer are youngsters themselves, such is Adelaide Youth Theatre’s amazing depth of talent.
DRINKING HABITS Venture Theatre
There IS such a thing as bad publicity! Rod Lewis, Glam Adelaide’s Arts Editor, shares his top tips for getting your show’s press release featured online or in print. There are two key things you should know about successful publicity: Be interesting. Be helpful. If you can be unique, that’s a bonus.
Review by Kerry Cooper July 26 2013
Luke Wagner has taken on the task of directing eight actors with differing experience in a show sure to tickle the funny bone. Drinking Habits is a delightful comedy written by Tom Smith. The action takes place in the main room of a tiny convent. The audience enter to an open curtain and witness Sisters Philamena, played by Leanne Albers, and Augusta, played by Shelley Carman, busily sewing. Both actors fared well in their roles. In an act of desperation the sisters take it upon themselves to make wine and sell it in a bid to ease the convent’s financial pressures. This is made all the more difficult as Mother Superior, played by Lee Glasson, is opposed to even the mention of the word alcohol. Their secret is further threatened with the arrival of visiting nuns and two undercover reporters. Reporter Sally, brought to life by Christie Molloy, is confident and determined to find out whether she has stumbled on the source of the award winning wine. Her partner in work Paul is played by Jaye Toetu, who stammers through his dialogue with comic genius. Kyle Hopgood as Father Chenille was exceptional. Lucy Marshallsay gave a solid performance as visiting nun Sister Mary Catherine, as did David Giles as George. A madcap chase scene at the end of Act One was a highlight of this chaotic farce. At times lines were lost, but this could be put down to opening night jitters. All in all this latest offering from Venture is just plain fun!
There are two key things you should know about editors: they value your efforts and they don’t have time for you. Like you, most Arts Editors and writers nowadays are volunteers. If you can make their life easier, they are more likely to give you the coverage you want. My tips are very simple, but they can make the world of difference. Let’s start with articles and press releases. Write an article not a press release. • Editors usually don’t have time to write an article for you. If you want forward publicity, you have to write it for them. A three-‐paragraph promo is not an article and often goes straight into the trash. So, write an actual article, at least 300-‐500 words long and check your grammar! Write it from the third person. • When an editor prints your story the article will coming from their publication or website, not from you, so make sure your article is written in third-‐person so it doesn’t have to be rewritten: Good example: “The Community Players are pleased to present “No Show”. The Players are Adelaide’s most recent community theatre troupe who…” Bad example: “We are pleased to present “No Show”. Our company is the most recent theatre troupe to…” Let them copy and paste. • Never send your press release as an image because that would mean the editor has to retype the whole thing. That’s not going to happen, unless it’s a very slow day! Send your press releases as a Word document and/or in the body of your email so the editor can copy-‐and-‐paste. Send two photos. • Most outlets need at least one photo to accompany any article or review, so have two prepared – one for your press release and one for a subsequent review. • Your poster doesn’t count. If you don’t include a photo, your story may not be considered. In today’s age, images are often turned into thumbnails (very small copies) so anything with text on it looks dreadful. • With your press release, send a photo that can be used -‐ rehearsals, a head-‐and-‐ shoulder shot of the director or a cast member, etc. Then, when you confirm a reviewer booking, send a different photo that can be used with the review. Start with a bang. • Your first sentence should grab attention – create a question, mystery or controversy that will make people want to read more. Once you’ve done that, you can expand on the actual details. Bad example: “The Community Players are presenting Oscar Wilde’s popular comedy, The Importance of Being Earnest..” Good example: “To lose one parent may be regarded as a misfortune but to lose both looks like carelessness. A Wilde time is in store at ...” And obviously, always include booking information and contact details in case they need to chase you up, including a telephone number and an email address.
SPOTLIGHT ON YOU July 2013
> All aboard Matt Byrne’s Phantom of the Opera
< Rehearsing for Hay Fever at Blackwood Players
> The cast and crew of Richard III pose at the Little Theatre
< The cast of Coward’s Private Lives relax at Therry’s rehearsal rooms
November 8-16 PLAYBOY OF THE WESTERN WORLD
Noel Coward’s comedy classic BLACKWOOD PLAYERS, blackwoodplayers.org.au
SA Premiere of Lloyd Webber’s chamber opera MARIE CLARK MUSICAL, marieclark.asn.au
The greatest Irish comedy ever written INDEPENDENT, independenttheatre.org.au
July 25-August 3 THE FOX ON THE FAIRWAY
October 4-19 THE LADY IN THE VAN
November 8-23 THIEF OF TIME
SA Premiere of a side-splitting hole-in-one farce ST JUDE’S PLAYERS, 8270 4205
A quirky but true tale from Alan Bennett STIRLING PLAYERS, stirlingplayers.sct.org.au
It’s going to be Monday forever UNSEEN THEATRE, unseen.com.au
July 26-August 3 DRINKING HABITS
October 4-26 RESERVOIR DOGS
November 15-30 LOVE RIDES THE RAILS
Meet the wine making sisters of Perpetual Sewing VENTURE, venturetheatrecompany.com.au
Tarantino’s blood-soaked heist live on stage! MATT BYRNE MEDIA ,mattbyrnemedia.com.au
Morland Cary’s hilarious fast-paced melodrama BLACKWOOD PLAYERS, blackwoodplayers.org.au
July 26-August 3 FAR FROM THE MADDING CROWD
October 5-19 HOLY DAY
November 19-23 A CHORUS OF DISAPPROVAL
Thomas Hardy’s haunting, brooding romance INDEPENDENT, independenttheatre.org.au
Andrew Bovell's mystery about survival THEATRE GUILD, adelaide.edu.au/theatreguild
Alan Ayckbourn’s take on the Beggar’s Opera! ST JUDE’S PLAYERS, 8270 4205
August 2-4 17th BALAKLAVA EISTEDDFOD
October 17-26 GREASE
November 21-30 MYSTERY OF THE HANSOM CAB
Bands, ensembles and a finale concert balaklavaeisteddfod.org.au
Grease is the word! THE MET, metmusicals.com.au
A comedy melodrama with a local twist! ADELAIDE REP, adelaiderep.com
August 3-17 RICHARD III
October 31-November 9 THE CLUB
November 22-December 7 CINDERELLA
Shakespeare’s favourite villain THEATRE GUILD, adelaide.edu.au/theatreguild
David Williamson’s footy classic GALLEON THEATRE, galleon.org.au
A traditional pantomime TEA TREE PLAYERS, teatreeplayers.com
August 10-18 POCAHONTAS
November 7-16 CORPSE!
November 22-29 DAD’S ARMY
Native American lore and beautiful music HILLS YOUTH THEATRE, sct.org.au/hyt/
A frightfully funny comedy about rival twins THERRY DRAMATIC SOC, therry.com.au
Don’t panic it’s the Home Guard! NTC, noarlungatheatrecompany.com.au
August 21-31 MEET MY HUSBANDS
November 8-23 A LITTLE NIGHT MUSIC
A comic look at advertising and the media TEA TREE PLAYERS, teatreeplayers.com
Moving moments of regret and desire HILLS MUSICAL, www.hillsmusical.org.au/
What’s coming up next? Let us know firstname.lastname@example.org
October 4-12 ASPECTS OF LOVE
EL C AN C
July 19-August 3 HAY FEVER
WHAT’S ON LISTINGS August 2013
Who’s on first?
August 22-25 THE GYPSY BARON Popular Johann Strauss Musical SALOS, 8294 6582
August 22-31 PRIVATE LIVES Noel Coward’s wildly funny masterpiece THERRY DRAMATIC SOC, therry.com.au
September 5-14 VANITY FAIR Becky Sharp as you’ve never seen her before! ADELAIDE REP, adelaiderep.com
October 2-12 NANNA’S NAUGHTY KNICKERS Bridget and Grandma become roommates. TEA TREE PLAYERS, teatreeplayers.com
Charles Mayer and Alicia Zorkovic get serious in Independent’s Far from the Madding Crowd! Photo David Wilson
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