December 2011 - Victorian Drama League

Transcription

theatrecraft
THE VICTORIAN DRAMA LEAGUE INC.
ISSN 0311-7138
webpage: www.theatrecraft.org.au
,;8G;.<6GBE<4AE4@4$84:H8
J4E7F&<:;G
email:[email protected]
December 2011
INSIDE THIS ISSUE:
Office Notes
5
2011 VDL Award list
9
Maxwell Hastings Obituary 13
What’s On
14
One Act Festivals
14
Auditions
15
Tech Corner
16
Membership and
Contact Details
28
REVIEWS
THE TANK
6
Sunshine Community Theatre
CAFFIENE
7
Kew Court House
TWO COMEDIES: THE RACK &
THE GREAT FLOOD
7
Swan Hill Theatre Group
DEATH BY FATAL MURDER
8
Torquay Theatre Troupe
CARAVAN
9
Peridot Theatre
RETURN TO EARTH
10
Melbourne Theatre Company
CROSSING DELANCY
10
The 1812 Theatre
THE MOUSETRAP
11
Southern Peninsula Players
Above: Award winners
from Lilydale Athenaeum
Theatre Company.
Left: MC Peter Newling
demonstrates how to
mount the stage.
Right: President Richard
Burman welcomes
everyone.
Below: A large turnout for
the night.
EBENEZER — A ROCK MUSICAL 12
MOaRTZ
CASH ON DELIVERY
13
Frankston Theatre Group
SONGS FOR A NEW WORLD
17
Dandenong Theatre Company
JIGSAWS
17
The Basin Theatre Group
HAPPY BIRTHDAY
18
Sherbrooke Theatre Company
JOSEPH & THE AMAZING
TECHNICOLOUR DREAMCOAT 19
Mornington CEF Players
THEY’RE PLAYING OUR SONG 20
Malvern Theatre Company
KIMBERLY AKIMBO
20
Brighton Theatre Company
BLOOD BROTHERS
21
Gemco Players
BEYOND A JOKE
21
Essendon Theatre Company
THE CEMETERY CLUB
22
Encore Theatre
‘ALLO ‘ALLO
23
Lilydale Athenaeum
EDUCATING RITA
24
Strathmore Theatre Arts Group
FAWLTY TOWERS
24
Beaumaris Theatre
OVER THE MOON
25
Geelong Repertory Theatre
MOONLIGHT AND MAGNOLIAS 25
The Mount Players
Library Christmas Hours
Library closed from Monday, December 19, 2011
Re-opening Monday, January 16, 2012
UNDER MILK WOOD
Heidelberg Theatre Company
26
Nicholas Ryan for Graham McGuffie (Gold Best
Set, Gold Best Lighting) and Andrew McMillan
Andrea Cole (Gold Best Sound) and Andrew
McMillan
ADJUDICATORS’
AWARDS
NOMINATIONS FOR
TECHNICAL AWARDS
JANINE CHUGG
1. BEST SET DESIGNER FOR A
COMEDY OR DRAMA PRODUCTION
Jeff Saliba, Not About Heroes by Stephen
MacDonald, Williamstown Little Theatre
The nominations are:
Kasper Sussman, Wait Until Dark by Frederick
Knott, Sherbrooke Theatre Company
To Alex Lance for taking on a role when an
actor became unavailable for Strathmore
Theatre Arts Group’s production of Hysteria
by Terry Johnson
To Malvern Theatre Company for the
choreography of the scene changes in the
production of The Farnsworth Invention by
Aaron Sorkin
COLIN ROCHFORD
To Mick Poor of Eltham Theatre Company’s
for the foyer display of We Happy Few by
Imogen Stubbs
To Nicola Baker for the program design
of The Basin Theatre Group’s production,
Natural Causes by Eric Chappell
Doug Bennett, Life After George by Hannie
Rayson, Encore Theatre
Bob Bramble, Wait Until Dark by Frederick
Geoff Davey, Heroes by Gerald Sibleyras,
FAMDA
Graham McGuffie, Death of a Salesman by
Arthur Miller, Lilydale Athenaeum Theatre
Company
John Shelbourn, Not About Heroes by Stephen
Macdonald, Williamstown Little Theatre
Alan Thompson, ‘Allo!’ Allo! by Jeremy Lloyd
and David Croft, Werribee Theatre Company
DAVID SMALL
Silver Award: John Shelbourn
To The Hartwell Players for the great use of
space without a set for their production of
The Voysey Inheritance by Harley GranvilleBarker.
Gold Award: Graham McGuffie
ENCOURAGEMENT AWARD
To Nick Dellicastelli who came into his first
ever “serious role” of Barry several weeks into
rehearsals of Wangarratta Players’ production,
Face to Face by David Williamson
2. BEST LIGHTING DESIGNER FOR A
Paul Haywood, The Woman in Black by
Stephen Mallatratt, The Mount Players
Neil Williamson, The History Boys by Alan
Bennett, Heidelberg Theatre Company
Silver Award: Neil Williamson
Gold Award: Andrea Cole
4. BEST COSTUME DESIGNER FOR A
Sylvia Carr, Death of a Salesman by Arthur
Miller, Lilydale Athenaeum Theatre Company
Wendy Drowley, Lois Connor & Dianne
Brennan, The History Boys by Alan Bennett,
Kristina Doucouliagos and Emma Sproule,
The Importance of Being Earnest by Oscar
Wilde, Beaumaris Theatre
Janine Kerwood, We Happy Few by Imogen
Stubbs, Eltham Little Theatre
Maureen McInerney, Anne Rendall, Bronwyn
King, Life After George by Hannie Rayson,
Encore Theatre
Deryk Hartwick, Life After George by Hannie
Paula Morgan, ‘Allo! ‘Allo! by Jeremy Lloyd and
David Croft, Werribee Theatre Company
Deryk Hartwick,The History Boys by Alan
Shane Ryan, Not About Heroes by Stephen
Scott Hasse, The Woman in Black by Stephen
Mallatratt, The Mount Players
Silver Award: Shane Ryan
Graham McGuffie, Death of a Salesman by
Arthur Miller, Lilydale Athenaeum Theatre
Company
Andrew Oldroyd, Heroes by Gerald Sibleyras,
FAMDA
Silver Award: Deryk Hartwick (Life After George)
Gold Award: Graham McGuffie
3. BEST SOUND DESIGNER FOR A
Page 2 — Theatrecraft December 2011
Rob Ellis, Heroes by Gerald Sibleyras, FAMDA
Gordon Boyd, Not About Heroes by Stephen
Robin LeBlond, Wait Until Dark by Frederick
Kristina Doucouliagos (Best Lead Actress
Comedy) and Edna Bartlett
Kristina Doucouliagos and Emma Sproule (Gold
Best Costume)
Andrea Cole, We Happy Few by Imogen
Stubbs, Eltham Little Theatre
Gold Award: Kristina Doucouliagos and
Emma Sproule
NOMINATIONS
FOR BEST ACTING
AWARDS
1. BEST ACTOR IN A MINOR
ROLE FOR COMEDY OR DRAMA
PRODUCTION
Peter Emery as Lane and Merriman, The
Importance of Being Earnest by Oscar Wilde,
Beaumaris Theatre
Bruce Carter as Minster/Bert/Keith (voice), We
Gail Bradley (Best Lead Actress Drama) and Alan
Dilnot
Happy Few by Imogen Stubbs, Eltham Little
Theatre
Brian Farrell as Timms, The History Boys by
Alan Bennett, Heidelberg Theatre Company
Colin Donald as Peacey, The Voysey
Inheritance by Harley Granville-Barker, The
Hartwell Players
Lachlan Haul as Young Philo Farnsworth,
Trader #6 and others, The Farnsworth
Invention by Aaron Sorkin, Malvern Theatre
Company
David Crothers as Leclerk, ‘Allo!’ Allo! by
Jeremy Lloyd and David Croft, Werribee
Theatre Company
Warwick Loveless as Henry, Così by Louis
Nowra, Gemco Players Community Theatre
Che Timmins as Zac, Così by Louis Nowra,
Gemco Players Community Theatre
Awarded to: Peter Emery
James Antonas (Best Lead Actor Comedy)
and Edna Bartlett
Barry O’Neill (Best Lead Actor Drama) and Alan
Dilnot
3. BEST ACTOR IN A SUPPORTING
ROLE FOR A COMEDY
PRODUCTION
Dean Gunera as Salvador Dali, Hysteria by
Terry Johnson, Strathmore Theatre Arts
Group
Dexter Bourke as Earnest Withers, Natural
Causes by Eric Chappell, The Basin Theatre
Group
Samuel Chappel as Scripps, The History
Boys by Alan Bennett, Heidelberg Theatre
Company
Jeff Saliba as George Everson, Waiter, James,
Howard, Banker #1, Judge and others, The
Farnsworth Invention by Aaron Sorkin,
David Dodd as Rev. Canon Chasuble, D.D.,
Chris Shaw as Roat, Wait Until Dark by
Frederick Knott, Sherbrooke Theatre
Company
Tim Driver as Posner, The History Boys by Alan
Aaron Holeman as James Davis, Secret
Bridesmaids’ Business by Elizabeth Coleman,
Daniel O’Kane as Doug, Così by Louis Nowra,
2. BEST ACTRESS IN A MINOR
ROLE FOR COMEDY OR DRAMA
PRODUCTION
Xavier Ryan as Tom, Living Together by Alan
Ayckbourn, Essendon Theatre Company
Awarded to: Daniel O’Kane
Cassi Clingan-Borst as Girl, Surgical Student,
Prostitute, Maid & Edward Hyde, Dr. Jeykll
and Mr. Hyde by Jeffery Hatcher, Geelong
Repertory Theatre Company
4. BEST ACTRESS IN A
SUPPORTING ROLE FOR A COMEDY
PRODUCTION
Rose Jowett Smith as Young David Sarnoff
and others, The Farnsworth Invention by
Aaron Sorkin, Malvern Theatre Company
Susan Carty as Celia Bryce, Natural Causes by
Eric Chappell, The Basin Theatre Group
Caitlin Farrelly as Yvette, ‘Allo!’ Allo! by Jeremy
Lloyd and David Croft, Werribee Theatre
Company
Jennifer Gilchrist as Lady Bracknell, The
Beaumaris Theatre
Brooke Hampton as Ms. Forsythe, Death
of a Salesman by Arthur Miller, Lilydale
Athenaeum Theatre Company
Kathryn Moloney as Annie, Living Together by
Alan Ayckbourn, Essendon Theatre Company
Aishling Sharkey as Leonie, Away by Michael
Gow, Purely Pensive Productions
Nina McLean as Emily, The Voysey Inheritance
by Harley Granville-Barker, The Hartwell
Players
Alison Knight as Honor Voysey, The Voysey
Inheritance by Harley Granville-Barker, The
Hartwell Players
Jackie Fraser as Ruth, Living Together by Alan
Ayckbourn, Essendon Theatre Company
Salina Henderson as Lucy, Così by Louis
Awarded to: Rose Jowett Smith
Keith Hutton as Leslie Gorrell, Walter Gifford,
Vladimir Zworykin, Banker#3 and others,
The Farnsworth Invention by Aaron Sorkin,
Awarded to: Joe Dias
6. BEST ACTRESS IN A SUPPORTING
ROLE FOR A DRAMA PRODUCTION
Melissa Karakaltsas as Charlotte Peters, We
Theatre
Jane Menze as Helen Irving, We Happy Few by
Imogen Stubbs, Eltham Little Theatre
Lauren O’Callaghan as Elizabeth Jelkes,
Dr. Jeykll and Mr. Hyde by Jeffery Hatcher,
Geelong Repertory Theatre Company
Llaaneath Poor as Rosalind Roberts, We
Theatre
Continued on Page 4
Kate McManus as Cherry, Così by Louis
Janie-Lee Zwagerman as Reba Harper, A Bad
Year For Tomatoes by John Patrick, MOaRTZ
Awarded to: Jennifer Gilchrist
5. BEST ACTOR IN A SUPPORTING
Zoran Babic as Happy, Death of a Salesman
by Arthur Miller, Lilydale Athenaeum Theatre
Company
Joe Dias as Biff, Death of a Salesman by Arthur
Kevin Trask (Best Director Drama, accepted for
Best Drama) and Richard Burman
Theatrecraft December 2011 — Page 3
Emma Sproule (Best Director Comedy, accepted
for Best Comedy) and Richard Burman
Continued from Page 3
Kim Ryan as Lizette Sarnoff, Mary Pickford,
Mina Edison and others, The Farnsworth
Invention by Aaron Sorkin, Malvern Theatre
Company
Eleanor Duckworth and Edna Bartlett select
winners of the door prizes.
Brad Lowry as Philo T. Farnsworth, The
Nick Martin as Mr. Green, Visiting Mr. Green by
Jeff Baron, The 1812 Theatre
Katie Timms as Gloria, Wait Until Dark
by Frederick Knott, Sherbrooke Theatre
Company
William Mulholland as Professor Peter
George, Life After George by Hannie Rayson,
Encore Theatre
Awarded to: Melissa Karakaltsis & Jane Menze
Barry O’Neill as Willy Loman, Death of
a Salesman by Arthur Miller, Lilydale
7. BEST ACTOR IN A LEADING ROLE
FOR A COMEDY PRODUCTION
James Antonas as Norman, Living Together by
Alan Ayckbourn, Essendon Theatre Company
Nicholas Barker-Pendree as Algernon
Moncrieff, The Importance of Being Earnest by
Oscar Wilde, Beaumaris Theatre
Bruce Grainger as Henri, Heroes by Gerald
Sibleyras, FAMDA
Richard Green as Roy, Così by Louis Nowra,
Tim Maloney as Rene, ‘Allo!’ Allo! by Jeremy
Lloyd and David Croft, Werribee Theatre
Company
Awarded to: James Antonas
8. BEST ACTRESS IN A
LEADING ROLE FOR A COMEDY
PRODUCTION
Kristina Doucouliagos as Cecily Cardew, The
Beaumaris Theatre
Sharon King as Myra Marlowe/Sis Sadie,
A Bad Year For Tomatoes by John Patrick,
MOaRTZ
Teddy Neave as Meg Bacon, Secret
Bridesmaids’ Business by Elizabeth Coleman,
Stephen Shinkfield as David Sarnoff, The
Awarded to: Barry O’Neill
10. BEST ACTRESS IN A LEADING
Kellie Brae as Beatrix George, Life After George
by Hannie Rayson, Encore Theatre
Gail Bradley as Professor Lindsay Graham,
Life After George by Hannie Rayson, Encore
Theatre
Dana Kronental as Jessica, Hysteria by Terry
Johnson, Strathmore Theatre Arts Group
Genevieve Ryan as Hetty Oaks, We Happy Few
by Imogen Stubbs, Eltham Little Theatre
2. BEST DIRECTOR OF A COMEDY
PRODUCTION
Bruce Akers, The History Boys by Alan Bennett,
Sharon Maine, Così by Louis Nowra, Gemco
Players Community Theatre
Andrew Olroyd, Heroes by Gerald Sibleyras,
FAMDA
Emma Sproule, The Importance of Being
Earnest by Oscar Wilde, Beaumaris Theatre
Awarded to: Emma Sproule
NOMINATIONS FOR
BEST PRODUCTIONS
1. BEST PRODUCTION OF A DRAMA
Death of a Salesman by Arthur Miller, Lilydale
Life After George by Hannie Rayson, Encore
Theatre
The Farnsworth Invention by Aaron Sorkin,
Speaking in Tongues by Andrew Bovell,
Awarded to: Death of a Salesman
Carol Shelbourn as Sheila, The Shoe-Horn
Sonata by John Misto, Brighton Theatre
Company
2. BEST PRODUCTION OF A
COMEDY
Awarded to: Gail Bradley
‘Allo!’ Allo! by Jeremy Lloyd and David Croft,
Werribee Theatre Company
NOMINATIONS FOR
BEST DIRECTORS
Così by Louis Nowra, Gemco Players
Community Theatre
1. BEST DIRECTOR OF A DRAMA
PRODUCTION
The History Boys by Alan Bennett, Heidelberg
Theatre Company
Laell Raiteri as Vincent, Natural Causes by Eric
Chappell, The Basin Theatre Group
Doug Bennett, Life After George by Hannie
Annabelle Tudor as Hon. Gwendolen Fairfax,
Gayle Poor, We Happy Few by Imogen Stubbs,
Eltham Little Theatre
Awarded to: Kristina Doucouliagos
Shane Ryan, The Farnsworth Invention by
Aaron Sorkin, Malvern Theatre Company
9. BEST ACTOR IN A LEADING ROLE
FOR A DRAMA PRODUCTION
Kevin Trask, Death of a Salesman by Arthur
Awarded to: Kevin Trask
Jill Edwards (VDL Life Membership) and Richard
Burman
Heroes by Gerald Sibleyras, FAMDA
Awarded to: The Importance of Being
Earnest
More Awards Night photos will
be published in the February
2012 issue of Theatrecraft.
office
President’s
Notes
Well, here we are again, the
December Theatrecraft, at the end of
another calendar year — and what a
chequered year it has been.
Looking generally at our group
members and their activities, this
has been a pretty successful year,
with a large number of productions
and, on the whole, of a pretty high standard. It has been my
privilege and pleasure to see many of them, not only as a reviewer
for Theatrecraft or as an occasional adjudicator for the awards in
an emergency but as an ordinary audience member attending
for the pleasure of it. And what a great variety of plays you have
presented this year. Congratulations!
Our small number of play-reading group members still operate
successfully and our individual membership numbers are holding
steady.
ORiGiN to represent
Samuel French from
January 1, 2012.
ORiGiN Theatrical will be the Australian representatives of Samuel
French from January 1, 2012.
There will be further details in the February Theatrecraft.
See Stage Whispers online information at http://www.
stagewhispers.com.au/node/8017
I k c c [ h
IY^eebi
;nj[dZ
oekhi[b\
Judging by the plays for next year which have been notified in
subscriber, membership, promotional and advertising material
2012 promises to be an exciting year for you too.
It has been more of a difficult year here at the League as you
know. The reduced opening hours and staff numbers and the
resulting changes to the administration from these are just
coming into operation as I write. The next twelve to twenty-four
months are going to be a critical and testing time for the League
and the patience, co-operation and support of all of you, our
members, will be vital to ensure the continued life of the League.
Do not forget that the League is a body listed on the Cultural
Register and any donations that you are able to make will be taxdeductible to you.
By the time you read these notes, the Awards Night will have been
held and I enjoyed meeting many of you there, as did the other
members of your committee.
Coming up smartly in January are the Summer Schools.
A special note of thanks before we close this calendar year
must be given to Damian Vuleta, who has done such a sterling
job editing our newsletter and making sure we get a bright,
informative and as up-to-date a magazine as he can. We do
appreciate your work for us, Damian.
On behalf of your committee and myself I wish you all a very
happy and relaxing Festive Season and holiday time — we will
need it before we plunge back into the extraordinary and exciting
world of the theatre of 2012.
With all best wishes,
Richard Burman
President
PLEASE NOTE:
The VDL accepts Credit Card payments (Visa & Mastercard),
and we also have EFTPOS facilities.
Also Direct Bank Deposits can be made to
our Westpac Bank account.
BSB: 033009
A/C: 440329
Please reference the account number or
your name.
Kick off 2012 with a challenge to your skills and
knowledge!
As an umbrella organisation to support amateur theatre we
are proud to kick off 2012 with two performing arts-focussed
Summer School programs:
≠
Youth Performing Arts Summer School (Y.PASS) for
2012’s Year 7–12
≠
Adult Program which has two streams: Directing and
Acting.
The Youth Program tutors include Dee Whittington, Michaela
Smith, Glenda May and Emily Fraser, all of whom have a wealth
of experience in working with young people in plays, musicals
and workshop settings. It’s on Monday 16–Friday 20 January,
with the Wednesday being a tour day of a range of Melbourne
theatres. The program concludes with an informal workshop
showing, dinner and attendance of a performance in a local
Black Box theatre. The fee of $275 includes all meals, transport
and access to the theatre tours. The Summer School will be
held in air-conditioned comfort at BDC Dance in Ashwood
(near Ashburton). Limited low-cost billeting is available at $75
for the week (Sunday night to Thursday night).
For more about the Youth Summer School
contact Joanne Watt on 9888 0198, or email
[email protected] or see www.
theatrecraft.org.au
The Adult Program (18+) again welcomes tutors Julian
Oldfield (Directing) and Geoff Wallis (Acting) who have
previously led the Summer School with great responses to
their approach and tailored guidance. It’s on Saturday 28 and
Sunday 29 January (Australia Day weekend), 10:00 am–5:00
pm at St Mary’s College, Carlton, and there are residential
($330) and live out options ($250). Payment due December 31.
For more about the Adult summer school
contact Liz Lipski on 9509 9992 or llmelb@
yahoo.com or see www.theatrecraft.org.au
reviews
(l–r) Trish Dickinson, Gerard Dickinson and Xavier Ryan in Sunshine Community Theatre’s The Tank. Photo by Stephen Andrews.
THE TANK
By Steve Thomas
Original music by Mick Thomas
Directed by Craig Ryan
Reviewed by Ewen Crockett – November 4, 2011
A lot of things were wrong with this production, but I loved it. For
some strange quirky reason it worked. From the moment of arrival
we were introduced to ‘Country Australia’ with a comprehensive
foyer display, and on entering the auditorium the open set
enhanced the feeling. A kitchen (I’ve never before seen a wood
burning stove made of wood), a lounge room, with the principle
piece of furniture being the front seat of an FJ Holden, and an
outside area beside a corrugated iron water tank completed a
very workable set. Some of the interesting items of decor were
an ancient wire strainer, a rusted bit of harness, the remains of a
hand water pump (the sort we used to put into 44-gallon drums),
a 1940/50s-style tin bucket and mop, a butcher’s block and a jack
saw (for city folk, that’s almost a cross-cut saw but with only one
handle). The whole thing left us with no doubt as to where we
were. No set designer is mentioned in the program, but well done
whoever you are.
Lights and sound were ordinary. A quick look at the lighting
board, and noticing some of the fancy stuff on the rig, convinced
me that more could have been done to enhance what was
happening on stage. I was confused at the beginning of the
bushfire scene when the sound seemed like a rain storm, the
lights outside appeared to be a lightning display and the stage
was washed with solid red… what? Fortunately the dialogue
cleared up the confusion. The program states “Original music by
©
IMPORTANT: REVIEWS COPYRIGHT
The reviews of plays published in Theatrecraft are
copyright and, if reproduced in your theatre company
newsletter, must not be edited but reproduced in
their entirety. And please credit that the review of
your production is from Theatrecraft published by the
Victorian Drama League.
Mick Thomas”. I’m not sure what was original; the theme from
the old TV series Rawhide (1959–1965) certainly wasn’t, and I
recognised some others as well. That aside, the band comprised
of three very talented musicians; John Hayes, Brian Hocking and
Craig Ryan, all playing multiple instruments, giving an effective
country feel to the production… I do so love good banjo picking.
The play takes us on a journey through part of the life of a
prematurely pregnant young girl living with not her best choice
of a life partner in a run-down house beside a dusty highway
frequented by trucks presumably trying to dodge weigh stations.
Enough said, that’s basically the plot. Oh, and worry about dust in
the house and when they can get a new water tank. Sounds dull,
but it wasn’t.
The actors and actress portrayed their roles with enthusiasm.
Trish Dickinson, as Dora, pregnant (and married?) at 15 years and
faced with a lifetime of drudge, did justice to the role and she has
an excellent singing voice. Her husband Roy, played by Gerard
Dickinson, convinced me with his “couldn’t care less, I’m going
bush” attitude. Stephen Galea, as Councillor John Deere was less
convincing but certainly knew his role. My congratulations to
Xavier Ryan as Harold, who took on the challenge of performing
the complicated role of Narrator complete with singing publicly
for the first time. My understanding is that prior to this his singing
has been limited to the daily shower. He has a great voice, if a little
lacking in power. Try a full-on musical next, you’ll love it.
Throughout the play there were numerous occasions where
blocking and masking was a problem. Aimless moves, foot
shuffling, mugging to the audience and some uncertainty about
their roles were evident. This is a directorial problem. The director,
Craig Ryan, says in his notes that he is “pretty sure that this will be
his first and last attempt at directing”, I don’t think so! Yes, you got
some things wrong, but you also managed to put together a very
difficult first production (musicians are a director’s nightmare),
and you somehow made it work. Enthusiasm was not lacking here.
Pick something simpler for your next production and do your
apprenticeship, you have the makings of a good director with an
eye for detail. Thank you all for a really enjoyable night.
CAFFEINE
Written and directed by Joachim Matschoss
Kew Court House Arts Association
Reviewed by Ken Barnes – November 2, 2011
This was my introduction to KCHAA, a new VDL member whose
performances are staged in the friendly and impressively restored
Kew Court House. Caffeine also introduced me to an interesting
format in which the actors appear as customers in a café
surrounded by the audience as other patrons, seated at tables
close enough for some limited interaction. The result was a cozy
and intimate setup which gave the impression that we were privy
to a series of overheard conversations.
The action commenced with a rather curt greeting by the feisty
waitress who ushered us to our tables. From then on it was all fun
and games, with a few touches of pathos, as the four actors spun a
tangled web of intrigue and romantic shenanigans, much of which
was conducted on mobile phones in the modern style, and all to
the amusement of the audience. The experienced and talented
Nathan Bosckey played the male role with admirable restraint and
total believability. His character (Daniel) delights in a chat over
a cuppa and is adept at attracting the interest of young female
members of the coffee set. Despite some pyrotechnics among the
girls when his double-dealing is revealed, Daniel remained cool
and composed throughout the performance. Nice work, Nathan;
you were an inspiration to all of us.
Monique Fisher was equally impressive as the intrusive and
assertive waitress, dressed provocatively in a skimpy outfit
including threadbare black stockings, and seemingly disenchanted
with her job, while at the same time making a strident pitch for
the affections of the hapless Daniel. Monique was a woman with
“attitude” and had perfected the moves so typical of the bored
waitress, whether wiping the tables or yelling orders to the chef.
Nice work, Monique; you gave a whole new meaning to a soy latte.
The blonde bombshell Ella was at first totally indifferent to Daniel’s
overtures but (to the great amusement of the audience) soon
succumbed to his charm. This required Angela Bono to change
her whole attitude from the hard-bitten woman of the world to
the spellbound and starry-eyed supplicant. She also had to adjust
her demeanor several times when confronted by Daniel’s other
admirers and finally to turn icy toward Daniel when his duplicity
was revealed. Nice work, Angela; you handled this kaleidoscopic
role with aplomb.
Then there was Sarah, played with panache by Jessica Matthews.
Another assertive one, and not a woman to be trifled with, Sarah
was the straightest shooter in Daniel’s convoluted love life and
Jessica was able to get inside her character in a most convincing
way. Her sometimes viperous verbal missiles would have sent a
chill through anyone’s heart and yet she was perhaps the most
engaging of the female actors. The way she handled the iPod, the
frantic texting and the seemingly detached response to Daniel’s
pleading was pure magic. Nice work, Jessica; you showed us that
Daniel should have quit while he was ahead.
It was difficult to find anything to criticise. Perhaps the many
phone calls could have been initiated by ringtones so as to add
realism; but perhaps that would have been a distraction. As usual, I
could have done without the f-bombs, but I guess that is modernday parlance. The director’s deft touch was evident throughout,
and important elements of this production were the pregnant
pauses within the dialogue, the smooth transition from one
sequence to the next, the exquisite moves and mannerisms of all
four actors. It was a fine performance and I enjoyed it immensely.
TWO COMEDIES
The Rack
by Louise Neilson
Directed by Trudy Rose
The Great Flood
by A R Kelly
Directed by A R Kelly
Swan Hill Theatre Group
Reviewed By Deborah Fabbro – November 5, 2011
The Swan Hill Theatre Group’s November season was two
one-act plays, The Rack and The Great Flood. The Rack, written
by Queensland playwright, Louise Neilson, is quite short and
provided a curtain raiser for the evening. It explores the theme of
Continued on Page 8
The cast of KCHAA’s Caffiene: (l–r) Nathan Bocskay, Angela Bono, Monique Fisher, Jessica Matthews. Photo by Graeme McCoubrie
From Swan Hill Theatre Group’s Two Comedies: Left: (l–r) Tammy Shields,Sarah Rose and Leah Farrow in The Rack; Right: (l–r) Graeme Page and Don
Baker in The Great Flood. Photos by Studio S Imajez.
mother-daughter relationships, helping friends in crisis, preparing
for houseguests and mistaken identity.
Set in the living room of Mary, a former costumier and dresser
for a major theatre company, but really a frustrated actress. Leah
Farrow played Mary very over-the-top, particularly the parts when
she is ‘performing’ roles from various plays. While the character is
meant to be ‘not so good’, this trait was rather grating as her voice
became shrill and almost incoherent at times.
play were recognised for the amalgam of locals they portrayed
and that there were some ‘in’ jokes in the dialogue but this did not
hinder understanding or enjoyment of the production for an outof-towner. We all know these types in our own communities: the
pompous mayor with his platitudes, the policeman who can only
speak in the language of police evidence statements, the buckpassing officials etc.
I loved the way these characters entered and exited creating the
effect of a ‘revolving door’ highlighting just how bureaucracy
works, or doesn’t, sometimes.
Sarah Rose gave a nicely balanced performance as Charlotte,
Mary’s daughter. She conveyed the bored, put-upon single
mother well, then nicely turned when confronting Helena who
has arrived to choose a costume for a fancy dress party. Danielle
Lowry was a suitably bewildered Helena as she contended with
Mary’s kookiness regarding the costumes and Charlotte’s outburst.
The finest performance came from Tammy Shields as Pamela,
the family friend who has broken up with her fiancé. She used
body language well, had a good sense of timing and tried to
make the most of her scene ‘hiding’ from Helena; however, a more
choreographed approach would have enhanced this action.
I cannot mention all 11 cast members individually but all seemed
to have a good understanding of their characters and this came
across in the performances.
There needed to be tighter direction and more cohesion in the
performances. In a number of places ‘business’ needed to be
better devised and worked into the action instead of having the
actors floundering with unsure moves and actions. The director
also should have checked the actors ‘playing out front’ when this
was not called for.
In an article in the local press, Andrew Kelly said that while he was
initially worried people affected by the floods might find the play
“insensitive”, he was banking on the Australian trait of not taking
yourself too seriously.
The minimalist staging, with well-chosen dressing, created
the mood and The Rack was stocked with an array of dazzling
costumes.
The main play, The Great Flood, was written by local school teacher
and SHTG member, Andrew R Kelly in February 2011 after the
January floods that affected much of northern Victoria.
It is a comedy that takes a satirical look at a rural town’s (Swan Hill
is not named) excessive response to an impending inundation
that ultimately does not reach the devastating outcome predicted.
Mr Kelly writes in a witty style so that even when there is the
occasional bad joke or overly obvious pun and the characters’
names are also puns, this can be forgiven. What makes this play,
and this production, work is the avoidance of overplaying the
stereotypes. It was necessary to play these caricatures ‘straight’
and this was done with the exception of Noel and Noelene. I feel
this was to do with the writing and not necessarily the direction or
the actors.
The play is set in Maude and Phil’s living room as they wait for the
flood to peak in their town with occasional crosses to the studio
of the local radio station and to the public meetings held by the
authorities. Verlie Carroll’s set design combined with effective
lighting design (uncredited but well operated by Rebecca Romeo
with Emma Kelly on spot) created these spaces well. The lightning
effect was really well created. Sound design was appropriate.
Judging by audience reaction, I’m sure that the characters in this
The standouts were Verlie Carroll as the housewife who never
quite fulfilled her dreams and now has all her efforts to assist the
town rejected. She and husband Phil, played by Adam Jacobs, had
a great rapport, which made their scenes together work well. The
other highlight was Timothy Mitchell as the DJ, Ryan. His evergrowing frustration at the mayor’s constant mispronunciation of
his name was a delight to watch.
I hope that those who were affected have been able to view this
‘take’ on those events in the good-humoured vein that Mr Kelly
intended.
DEATH BY FATAL MURDER
by Peter Gordon
Torquay Theatre Troupe
Directed by Fred Preston and Terry Roseburgh
It seems that murder and intrigue continue in epidemic
proportions at Bagshot House, the remote country home of the
late Colonel Craddock, despite the earnest efforts of the aptlynamed Inspector Pratt and the stoical Constable Thomkins. The
police are being assisted in their enquires by a disparate group of
characters including the present owners of Bagshot House, the
Allrights, a land army girl called Ginny, the mysterious clairvoyant
Agatha, the sleazy Enzo and of course the redoubtable Miss Maple.
Sound familiar? This ripping yarn is the third of three Christielike spoofs written by the whimsical Peter Gordon, a triple treat
brought to the stage in fine style by the accomplished Torquay
Theatre Troupe.
The TTT operates from a comfortable and patron-friendly
auditorium with raised seating providing a commanding view
of Fred Preston’s carefully designed and tastefully decorated
set, fully equipped with up-market furnishings, paintings and
other paraphernalia as befits a fine country house. All the action
took place in one room, although off-stage there were several
(l–r) Michael Knowles, Bronwyn Cameron, Alan Thompson and Tamara Hill-Beary in Peridot Theatre’s Caravan. Photo by Annette Deboer.
mysterious happenings to discomfort the characters. Good
direction ensured that the whole stage was used, with actors
moving in evocative ways to heighten the tension or accentuate
the humour. As lighting played an important part in the story,
Jenny Stewart ensured that it was well designed and executed.
The costumes were mixed, ranging from perfect (Ginny and Miss
Maple) to puzzling (why no badges of rank or pilot’s wings on
Roger’s uniform?).
Casting was superb. The eight actors worked exceedingly well as a
team, their shenanigans and interactions keeping the audience in
fits from start to finish. Michael Baker turned in an energetic and
sustained performance, wringing the last drop of humour from his
Inspector Pratt with all the confronting or pitiful facial expressions
and stumbling malapropisms demanded of the role. Carleen
Thoernberg was similarly proficient in the opposite direction as
a demure and coolly rational Miss Maple, her quiet confidence
the perfect foil for the bumbling inspector. The long-suffering
Constable Thomkins was played with admirable restraint by Fred
Preston who was very much the straight man in the cast, forced
to suffer the frustration of working with Pratt while maintaining
some semblance of equanimity toward the other characters.
The role of Nancy Allright was also one that called for a less
flamboyant style than most of the other actors, and Rhiannon
Hodgkinson was well suited to it, displaying calm assurance in
challenging circumstances and only allowing her eyes to betray
the turmoil she was feeling as the chaos swirled about her. This
was in contrast to the effervescent clairvoyant Agatha, played with
considerable verve and emotional fireworks by Maryanne Doolan,
who demonstrated a remarkable ability to converse with the
“other side” in the appropriate idiom and with the right accent.
While on the subject of accents, all of the actors displayed their
abilities in this context, none better than Rory Molloy who played
the pseudo-Italian Enzo Garibaldi with believable sleaze and
chilling mannerisms; we all breathed a sigh of relief when he got
his comeuppance. A different accent altogether was effected by
Andrew Gaylard who played Squadron Leader Roger with typical
British derring-do in describing his exploits as a Spitfire pilot.
In such a stellar cast I hesitate to single out anyone for special
mention; however, my favourite was Lisa Berry who played Ginny
Farquhar. She was able to convey the upper-crust “daddy’s girl”
mannerisms and prim attitude to male advances with a robust
inter-personal style and earthy humour of her character to
perfection.
This hilarious spoof, well directed as it was, provided a vehicle for
all the actors to demonstrate their appreciation of the witty and
whimsical dialogue and to use subtle mannerisms and movement
to extract every laugh from the audience. Some companies do not
realise that the eyes play a vital role in telling a story, particularly
a comedy. The directors and actors in Fatal Murder certainly
understood this, so the audience were often laughing even when
nothing was being said. If, like your reviewer, you could happily
strangle Agatha Christie’s Miss Marple, you will find Peter Gordon’s
Miss Maple a far more engaging figure. Great shows like this keep
us smiling long after the final curtain.
CARAVAN
by Donald McDonald
Peridot Theatre
Directed by Bob Bramble
Reviewed by Nicky McFarlane – November 11, 2011
Is Caravan low comedy or farce? A play that relies for laughs on
actors continually banging their heads on a rather low doorway
(the audience loved it) definitely puts it in the “low” category. On
the other hand much of the business involves lowered trousers,
drunken falls, musical chairs around the beds and constant
arguments about people’s ages and repetitive complaints about
just about everything, which I consider puts it sort of in the “farce”
area. Some of the dialogue is quite amusing though lacking in wit.
I hasten to add that the audience loved every moment of it and
laughed heartily all the way.
The set designed by the director and David Bramble presents
across the width of the stage a cut-open caravan showing a
kitchen area, dining setting, two bunk beds and a double bed,
prettily dressed in floral covers. It is owned by Parkes and Penny
Robinson, who have invited three friends, Rodney and Monica
Rice, and Pierce, a single man who has, uninvited, brought a
Continued on Page 10
young girl, Gwendolyn. Six bodies, four beds, and a tent outside,
unseen. Parkes cannot stop complaining that someone has
pinched their usual site at the beach, Penny has to keep calming
him down and Monica is horrified by the primitive state of the
toilet block. Then, predictably, it rains, and rains.
The actors carry the show along at a smart pace, and make a
great team, strong performances all round. Llaaneath Poor gives
Gwendolyn a wistful, air-fairy approach which underlines “her
three years at an ashram” and her remarks on how to live her life.
Her drunken scene is a gem of body language and her little-girl
voice just right for the character.
friend Jeanie’s inability to have children, Alice’s need/want to fall
in love (and she does), have a baby and stay on earth, her sudden
unexplained pregnancy (alien baby perhaps?). It’s all a bit flimsy,
overly whimsical, over-worked and unexplained, with lots of
conflicting imagery and metaphor about family, grief, disease,
space, birth, death and re-birth that really goes nowhere and
leaves you feeling nothing much. The play’s overworked narrative
fell short of a resolution, a confusion of pretty images, with no real
outcomes.
Given all that, some of those pretty images were the best I have
seen. Set, lighting and sound design were inspired and made an
otherwise style-challenged play enjoyable and beautiful.
Tamara Hill-Beary as Penny is the calming body all around, until
later in the week when everyone is ready to explode, and her
furious tirade brings the others to their senses and repairs the
friendship. Bronwyn Cameron as Monica, whose remedy for all
problems is frequent doses of brandy, is mostly quietly miserable
or in a tizz about anything or anybody, especially during the ongoing argument about what age the others really are.
Michael Knowles as Parkes cares only for his beautiful caravan
and goes ballistic when Pierce kicks the wall in anguish after
banging his head once too often. When the rain starts and the
roof is leaking he is desperate, as the buckets he is placing to save
the carpet from a soaking keep disappearing. His performance
is extremely physical and effective. Rodney, played by Alan
Thompson, mostly ignores his wife Monica, has his way with
Penny and then is quite overcome by Gwendolyn.
Pierce is so self-centred he is only concerned about his health and
the possibility of spiders in the bed, but does manage a pass at
Penny, as well as getting Gwendolyn, who says she does not drink,
very intoxicated. Talk about men behaving badly!
Gordon Boyd’s lighting design is mainly providing the lighting to
go with Andrea Cole’s thunder, operated by Peter Fowler and Wilf
Seeling, also the production co-ordinator. Congratulation too to
Gail Brackley as stage manager. A good team job all round and I
applaud the actors who managed to use the very limited stage
area extremely well
RETURN TO EARTH
By Lally Katz
Melbourne Theatre Company
Fairfax Studio
Reviewed by Kym Davies – November 9, 2011
Opening night at Melbourne Theatre Company (MTC) is filled
with spectacle from the celebrity studded audience to the
expected technical and artistic splendour that frame MTC shows.
The company’s professionalism, slick delivery and outstanding
acting talent is world class and always to some degree enjoyable.
However, on this occasion, even with all the right elements, MTC
have staged in Lally Katz’s Return to Earth a mediocre play with a
puerile and insubstantial plot.
Return to Earth is a play about a girl/woman Alice who used to be
Erica, who has returned home to her family’s seaside home after
an unexplained absence. But Alice has changed, while everything
around her has just become more the same. She has forgotten
the most basic things and absurdly needs to be constantly
reminded of simple things, such as how to chew food, how to have
conversations and even how to love. You see, Alice has been in
outer space, and has become alien to the simplicities of her former
life and family. Despite her extended absence she is child-like and
naïve, a parody of sub development and growth. Is this a metaphor
for mental illness or alcoholism or some other form of addiction?
Or a Bert Newton-style family feud? Alice has stopped developing,
and although her parents are happy to have her back, her brother
is angry at her absence and annoyed by her child-like attitude.
Then there is the whole other part of the plot that is about
children. Her brother’s dying child Katta, his dead wife, Alice’s
Kim Gyngell, Eloise Mignonand Julie Forsyth in Melbourne Theatre
Company’s Return To Earth. Photo by Jeff Busby.
The set by Claude Marcos was a magnificent polished black circular
stage with in-built contrary revolving spheres and towering dual
planet rings. The upper level of the Fairfax was used to advantage
with a full-scale model of the seaside town suspended above
the stage and the action. The circles of light created by the set
electrics in blue and gold highlighted the scene changes creating
atmosphere and wonder.
The lighting design by Lisa Mibus in general was understated and
complementary creating mood and other-worldly feel. I particular
loved the boat scene, with its dual lighting states and boat
silhouette that has to be seen to be understood. It was creative,
innovative and a magical example of brilliant design and imagery.
The star of the show, however, was the sound design by Kelly Ryall.
Perfectly aligned with the set electrics and lighting, the sound was
a cacophony of music and perfectly timed sound effects.
Alongside the technical effects, the actors were skilled and
delivered the dialogue and characters well. Eloise Mignon in the
lead role of Alice was effectively childlike and consistent in her
delivery. The parents played by Kim Gyngell and Julie Forsyth
were amusing but particularly annoying with one tone and type
of delivery. Anthony Ahern as the down-to-earth Theo, was the
standout, and his grounded performance was a great relief and a
good counterbalance to the off-the-wall performances of Alice and
her parents.
Return to Earth was an average play, but was saved by some
brilliant design and strong delivery by all involved.
CROSSING DELANCEY
by Susan Sandler
The 1812 Theatre
Directed by Christine Grant
Reviewed by Nicky McFarlane – November 25, 2011
Set in New York City, the title is the equivalent of “the wrong side
of the tracks”. Isabelle (Izzy for short), is an independent, single girl
living in a small apartment which her grandmother, Bubbie, calls
“a dog kennel”. She worries that Izzy is still single and enlists her
friend Hannah, a matchmaker in the Jewish style, who suggests
Sam, a producer of pickles. But Izzy has her heart set on Tyler, a
writer of novels whom she meets at the bookshop where she
works. He pops in every few days to check on the sales of his latest
book and Izzy believes that he must be interested in her, so refuses
even to consider Sam.
Patricia McCracken as Bubbie gives us the full Jewish New Yorker
of old; loud, raucous, speaking rapidly with strong accent, flying
arms, much use of Yiddish words and jokes. This is a powerful,
eccentric and amusing character, so much so that the others on
the stage seem insignificant, and when she is not there things go
flat. Don’t get me wrong, they are doing their best, but are simply
overpowered.
Izzy, played by Becky Lee, is sweet and gentle with her Bubbie,
but stands up for herself, giving Sam a very cold shoulder when
meetings are arranged. She starts a campaign to get Tyler to
commit himself, which ends in disappointment, and gives us
some hope that Sam may have a chance. He has, after all, won
over Bubbie, what with cleaning her windows and talking about
his orthodox Jewish background. Frank Schrever gives Tyler some
style, polite but egocentric, and a bit of a cad: nicely done.
Robin Le Blond’s lighting design is as usual, appropriate. Anne
Harding’s wardrobe dresses the cast well and the director
designed her own sound. Steve Hobbs and his team managed the
numerous scene changes swiftly and quietly. This a gentle and
amusing play, well put together by 1812.
THE MOUSETRAP
by Agatha Christie
Southern Peninsula Players
Directed by Mark Bolton
Reviewed by Jill Watson – November 13, 2011
Program notes were very good and reminded us that this is the
world’s longest running play of any kind and has been in London’s
West End since 1952, just on 60 years.
The setting is the Great Hall of Monkswell Manor in the English
countryside; the year, 1952. Mollie Ralston has been left the manor
by her aunt. Mollie and her husband Giles have just opened it up
as a private hotel and their first batch of visitors is due to arrive. A
very mixed group and soon it is revealed that there is a murderer
in their midst connected with an earlier murder in London. Lots of
suspicious characters and red herrings galore.
The stage was quite large so plenty happening in the set. French
windows upstage where curtains could be drawn, with a rather
indeterminate view: a tree and some snow. Upstage right was
an unseen front door with a semi-concealed vestibule. An exit
upstage left led to unseen stairs. Doors downstage which led to
sitting and dining rooms. People were coming and going through
these doors in complete darkness; there should have been some
light showing.
Above: (l–r) Frank Schrever and Becky Lee in The 1812 Theatre’s Crossing
Delancy.
Below: Janet Withers. Ian Johnson. Patricia McCracken in Crossing
Delancy. Photos by Rick Magazowski/Shot On Sight.
Janet Withers has a lot of fun with Hannah, always cheerful,
colourfully clad in sweeping outfits with large bright patterns,
and enjoying food, and more food, at every meeting with Bubbie.
Ian Johnson as Sam is charming, talking freely with Bubbie and
Hannah, but finding himself at his brief meetings with a very
cool and uninterested Izzy, almost tongue-tied. He is delightfully
embarrassed when he turns up in what he thinks is a trendy jacket,
in an effort to look more appealing to Izzy. I think it is a pity that
we never actually see any glimpse of attraction between Izzy and
Sam, which is of course the author’s choice.
The set is designed by the director and Kevin Doyle. On a dais
about a metre high we have the bookshop; against the stage left
wall is a handsome three bay bookstand elegantly full of colourful
books, a desk and stool and an entry door with a glass panel. Stage
right is Bubbie’s apartment; windows, a round table and chairs, an
archway leading to the front door, an armchair where Bubbie sits
with Izzy whipping out her whiskers at the start of the play.
Stone walls were depicted at the back with side walls painted
unevenly in a pink-brown colour; not sure if these were meant to
be wood panels but they were a bit distracting. Furniture was all in
keeping and looked good.
I did like the touch of the police officer arriving on skis and they
looked suitably old-fashioned. Also loved Mr Paravicini’s yellow
socks and his shoes were excellent, as were Major Metcalf’s.
Peter Eddy did well with his Italian mystery man, very sleazy and
insinuating. Peter Spackman was a very suitable retired military
man, not missing a trick. Grace Hart-Davies as Mollie Ralston
gave a steady performance, as did Mark Bolton as Giles Ralston.
Kylie Noble as Mrs Boyle, the complaining older woman, was
apparently a late casting, and perhaps a little too young for the
part. She needed more pace in her delivery. Michael Whitmore
as the hyperactive Christopher Wren certainly conveyed an
odd young man, but overacted at times. Lucinda Bolton as
the strangely aloof Miss Casewell did very well — very good
movements around the stage and speech delivery was excellent.
Terry Paye as Detective Sergeant Trotter had good stage presence,
used a sustained cockney-style accent and generally handled his
role convincingly.
Lighting and sound, both by Evan Knoble, worked well. There was
some sort of microphone system in place for the actors which is
understandable as the venue is very large, but there was a slightly
quieter area stage left, near the desk. Wardrobe by Shirley Riley
and Pam Foreman looked authentic.
There are a few other points I would like to make for future
reference as they are things which can easily distract an audience,
let alone a nit-picking critic! I hope the group will accept these
comments as constructive.
Why didn’t all people wear gloves when they arrived and maybe
stamp their feet a little? We were told it was snowing and that the
manor was cut off. Mr Paravicini came on stage and immediately
looked around to the right to speak to the proprietor because he
(as an actor) knew she was there — he should have looked around
the room first. Miss Casewell went straight to the fireplace where a
flickering fire was conveyed and took off her voluminous, flapping
coat in front of the fire. It would have gone up in smoke if there
had been real flames. Some actors were swaying back and forth
on the spot. Once, when all actors were on stage, they appeared
to be in a dance, moving around the stage aimlessly (as it seemed)
and masking each other. One thing to look natural but moves
must be properly co-ordinated.
On a positive note, actors really knew their lines and pace was
reasonable. The full-to-capacity audience enjoyed it immensely
which is the main thing. A great team effort.
EBENEZER — A ROCK MUSICAL
Book, Music And Lyric by Malcolm Sircom
MOaRTZ
Directed by Annette O’Shea, Denise Twite, Adriana Bianconi
Reviewed by Graeme McCoubrie – November 25, 2011
This production heralds a new era for MOaRTZ as it is their
first ever musical production and, in particular, one that is
specifically for youth. Drama and Comedy has been their forte
and will continue to be at their recently acquired new home in
Moe. However, with a cast of 49 and such a busy production as
Ebenezer — a Rock Musical, a larger stage and technical facilities
were required elsewhere in the Valley.
and small props manager, would have been extremely busy
adding the furnishings and trimmings to suit. Impressive was the
vast range and the accuracy of the costumes depicting the era.
Coupled with some excellent hair and make-up design, one was
certainly taken back to Dickens’s England.
There are some 20 songs in the score, mixed with some popular
carols, so you certainly knew that Christmas was not far away. With
49 young players it is difficult to individualise but the key players
were well cast. John Molden as Ebenezer Scrooge was tall, solid
and commanding and, with his well applied makeup including
the nose job, he was Scrooge. Mean, nasty and “I hate everybody”
but he finally turned and saw the error of his ways. The scenes in
his bedroom with ghostly figures appearing at his window, eerie
sounds, intrusive mist and a well contrived self-opening door all
added to the dream of his past, present and future Christmases.
His nephew Fred was impressively played by Mitchell Cameron.
He was at ease at all times, even when let down by noisy head
mikes during some vocals. The same can be said for Rhys Comber
as Bob Cratchit who, while a little light in voice, did very well in
the face of mike interference. Lauren Burns (Belle), Emily Chessum
(Tiny Tim) and Ryley Reid (Ghost of Christmas Past/Mrs Cratchit)
were among the many others that stood out.
While a multi-purpose school hall, the stage was well suited to the
large cast and, with good offstage facilities, a team of fifty or more
gave the support needed to bring this rock musical to the stage.
Coby Gregg as the Charity Collector was good as were the team
of Rappers (Cameron Bianconi, Erica Lang and Corey O’Shea)
led by the Ghost of Christmas Present, William Stimson. They
brought some modern day interpretation to their vocals and
choreography.
The story based on Charles Dickens’s A Christmas Carol needs little
explanation and with so many musical numbers the audience
couldn’t help with tapping their feet throughout the performance.
There were many more in the cast playing their character well and,
while execution of the choreography was not always in unison, it
was effective and suited the young cast.
Set designers Annette O’Shea and Mike Pullar cleverly created four
separate wheeled triangular book flats that rolled and opened
up to create the many scenes; Scrooge’s bedroom, Scrooge’s
Office, Bob Cratchit’s home, nephew Fred’s parlour, a market place
and various street scenes. While the scenes were being created,
background music took our attention away from the hardworking
stage crew led by Stage Manager, Joe Reid.
The choir of twelve cast, led by Musical Director Denise Twite,
gave us some excellent renditions of well-loved carols, particularly
the one soloist who sang “Away in a Manger”, a very sweet
rendition.
Set design artist Maya Fraser added her touch of Victorian England
to the many scenes while Janie-Lee Zwagerman, set dressing
Working with so many cast members of all ages and experience
is not an easy task and credit goes to the team of MOaRTZ, their
many helpers and sponsors in delighting the audience with a
favourite: a mean and greedy man in Scrooge who awakes a new
man, jolly and charitable.
(l–r) Jessica Clarke, Mellissa Stewart, Emily Chessum (front), Ryley Reid, Rhys Comber and Bailey Cameron in MOaRTZ’s Ebenezer — A Rock Musical.
Photo by Dorothy Teague.
CASH ON DELIVERY
By Michael Cooney
Frankston Theatre Group
Directed by Dan Ellis
Reviewed by Richard Burman – November 26, 2011
Frankston Theatre Group ended their 2011 season presenting
Michael Cooney’s farce, Cash on Delivery. The play was presented
at the Mt Eliza Community Centre with the audience, bringing
their own food and drink, sitting at tables to enjoy the evening.
Cash on Delivery follows the lines of classic English farce — as
written by Michael Cooney’s father Ray — setting out the basis of
the plot in the first 10 to 15 minutes and then developing every
twist of confusion that can be made from the situation.
Dan Ellis chose to set the play in a basic three-wall square box
which was very strongly built. It had to be as the continual violent
opening and closing of the four doors did not result in any
noticeable shaking of the set. It was all brightly lit in the lounge
room where the action takes place, but there appeared to be no
lighting of the outside front garden, which could be seen through
the window and the front door.
The play concerns Eric Swan who, having lost his job two years
previously and unable to tell this to his wife Linda, has been
defrauding the DSS by making claims for a number of fictitious
lodgers at his house. Finding the mess he has created is becoming
too difficult to handle he tries to extricate himself by killing them
off only to find himself more deeply enmeshed with the DSS.
Michael Laity played Eric in a performance that was a real tour de
force. Even though the play started at a good pace he clearly set
the foundation stones of the nonsense for the audience and as it
got faster and faster, skilfully guided them step-by-step through
the continuously unfolding web of lies and deceit.
He was ably matched by Mark Moore as Norman Bassett, his
nervous and confused lodger, who unwillingly gets caught up in
all Eric’s schemes. This was another fine comic performance and
the two actors bounced off each other well. This role is as long and
involved as that of the landlord and Mark did not miss a beat.
The DSS inspector, Mr Jenkins, was played by Dave Wearne, with
just the right amount of pompousness and bewilderment, as Eric
and Norman bounced their lies around him. Dawn Ridsdale had
the thankless role of Linda, Eric’s wife. This is the comparatively
straight role in the farce, which while nicely acted, I felt was just
a little underplayed. It needed to be a bit bigger to match the
energy being displayed by the characters around her.
Roy Thompson was cast as Eric’s Uncle George, who is in on the
schemes, while Naomi Woodward played Sally, the welfare officer.
These two performers created nice little comedy characters, as
did Eve Armstrong as the marriage counsellor, Dr Chapman, and
Grant Kennedy as Mr Forbright, the undertaker. Eve Armstrong’s
performance was hampered a little at times by some unfortunate
blocking by the director, but more of this a little later. The cast
was completed by Simone Wright who gave a commanding
performance as Ms Cowper, the senior DSS officer, and Danielle
Berns as Norman’s fiancée, the very high-spirited Brenda.
Maxwell John Hastings
November 23, 1940 – October 29, 2011
The Gippsland theatre scene was immensely saddened by the
passing of Max Hastings on Saturday, October 29.
Max was chairman of Gippsland Associated Theatre for several
years and did most of his theatre work with the Foster theatre
company, FAMDA, where he was a life member, having worked
as director, actor, singer, set-builder and committee member,
serving terms as treasurer and president.
Max joined FAMDA in 1984 as Gremio in Kiss Me, Kate. Since
then he has performed with FAMDA in plays like High
Infidelity, Top Silk, A Month of Sundays, Shadowlands and Blue
Remembered Hills.
He had major roles in musicals, playing Jud in Oklahoma!,
Angel Chicago in Follow the Star, Pseudolus in A Funny Thing
Happened on the Way to the Forum, Motel in Fiddler on the Roof,
Harold Hill in The Music Man and Mr Sowerberry in Oliver!.
Directing credits include The Golden Legion of Cleaning Women,
The Bespoke Overcoat, Educating Rita, Shadowlands and Blue
Remembered Hills plus the joint FAMDA / Leongatha Lyric
production of Guys and Dolls.
Max also worked with other Gippsland theatre companies,
performing in Wind in the Willows and playing Georg Von Trapp
in The Sound of Music for Leongatha Lyric Theatre and starring
as Thénadier in Warragul’s 2000 version of Les Misérables.
An extremely talented performer, Max won Gippsland
Associated Theatre awards as the most outstanding actor in a
play for performances as C. S. Lewis in Shadowlands, Cooper in
A Month of Sundays and The Actor in The Woman in Black, and
best supporting actor awards in a musical as Motel in Fiddler on
the Roof and in a play as Donald in Blue Remembered Hills.
Max also earned Gippsland Theatre awards for his direction of
The Bespoke Overcoat, Educating Rita, Guys and Dolls and Blue
Remembered Hills.
He was nominated by the Victorian Drama League as best actor
in a leading role for his performance in The Woman in Black and
by the Music Theatre Guild of Victoria as best supporting actor
for his role as Mr. Sowerberry in Oliver!.
His last stage performance was as Philippe in Heroes, FAMDA’s
entry in this year’s VDL awards.
Max has left an indelible mark on FAMDA and Gippsland
theatre. He will be sadly missed for his sheer talent, enthusiasm
for theatre and ability to get others to share his dreams. We will
miss him as a friend and theatrical mentor.
This was a very well-rehearsed play as all farces must be, for they
move at such a frenetic pace. The actors entered, moved and
exited without missing a beat. But on more than one occasion the
blocking of the play by the director caused them to seriously mask
one another, which was disconcerting. I also could not understand
why Dr Armstrong did not sit each time when being commanded
to do so by other characters. There were a few moments when the
very fast dialogue faltered, which were all the more noticeable
when the rest of the farce was moving so quickly and skilfully. But
the clarity of the dialogue from all performers, which took the
audience from point to point, was to be commended.
All in all a happy end to the 2011 season for Frankston Theatre
Group.
what’s on
For more information on the productions, including
exact performance dates, please visit our website:
www.theatrecraft.org.au
SEASON
GROUP
PRODUCTION
BOOKINGS
November 10–December 10
Evenings: 8:00 pm
Matinée: 4:00 pm
THE 1812 THEATRE
CROSSING DELANCEY by Susan Sandler
Directed by Christine Grant
3 Rose St, Upper Ferntree Gully
9758 3964
December 8–10
Evenings: 8:00 pm
Matinées: Sundays, 2:00 pm
MORELAND THEATRE
COMPANY
STYLIN’ SHAKESPEARE: A MIDSUMMER NIGHT’S DREAM by
William Shakespeare
Directed by Karim Shaker
Cnr Sydney & Glenlyon Rds, Brunswick (Melway: 45 H5)
KEW COURT HOUSE
THREE AWARD FINALIST ONE ACT PLAYS PERFORMANCES 2011
ARTS ASSOCIATION
COMPETITION
The Immortal Game by Ray Wilson
Directed by Graeme McCoubrie
Grace by John Tilbrook
Directed by Edna Bartlett
Snap by Cerise deGelder
Directed by Graeme Moore
Kew Court House, 188 High St, Kew
SUNSHINE
HIGH SEAS by Stephen Andrews
COMMUNITY THEATRE Directed by Rachael Holt
Dempster Park Hall, 82 Phoenix St, Sunshine North
9388 1942
December 6–9
Evening: 8:00 pm
December 9–11
Evenings: December 9 & 10,
7:30 pm
Matinées: December 10 & 11,
2:00 pm
December 17
Evening: 8:00 pm
MELBOURNE FRENCH
THEATRE
DES COURTES LIGNES DE COURTELINE (Some Short Lines From
Courteline) by Georges Courteline
Directed by Michael Bula
203–205 Canning St, Carlton (enter via Neill St side door) (Melway: 43 K2)
THE REAL STORY OF PUSS IN BOOTS by David Foxton
Directed by Joanne Watt
Ashwood College Performing Arts Centre, Vannam Dr, Ashwood (off
High Street Rd) (Melway 60 J10)
9853 3551 or
kewcourthousearts.
com.au
0407 802 165
www.mftinc.org/
manual_bookings
Or ph. 9349 2250
January 13–28
Evenings: 7:00 pm
Matinées: Saturdays &
Sundays, 2:00 pm
HARTWELL PLAYERS
February 3–18
Evenings: 8:00 pm
Matinées: February 5 & 11, 2:15 pm
Twilight: February 12, 4:00 pm
February 17–March 3
Evenings: 8:15 pm
Matinées: February 18 & 26,
2:00 pm
February 24–25
February 24, 8:00 pm
– February 25, 11:00 pm
PERIDOT THEATRE
SAME TIME NEXT YEAR by Bernard Slade
Directed by Nick Walter
Unicorn Theatre, Mt Waverley Secondary College, Lechte St, Mt
Waverley (Melway: 61 F11)
MALVERN THEATRE
COMPANY
MAN ALIVE by John Dighton
Directed by Deborah Fabbro
29 Burke Rd, Malvern East
1300 131 552
SHERBROOKE
THEATRE COMPANY
PLAY IN A DAY by various
Directed by various
Introduction Meeting: “The Shed”, Factory 4, 22 Jesmond Rd, Croydon
(Melway: 50 K6)
Performance Venue: Community Theatre, Doncaster Secondary
College, 123 Church St, Doncaster (Melway: 33 G12)
1300 650 209
www.trybooking.
com/17249 or
bookings@
hartwellplayers.
org.au or ph.
9513 9581
1300 138 645 or
9898 9090 (10:00
am–5:00 pm,
Monday–Friday)
one act festivals
SEASON
EVENT
July 20–22, 2012
DANDENONG RANGES ONE ACT Venue: The Gem Theatre, 19 Kilvington
PLAY FESTIVAL
Drive, Emerald, VIC
FESTIVAL INFORMATION
Hosted by Gemco Players
August 11–12,
2012
SOUTH GIPPSLAND 12th ONE ACT Foster War Memorial Arts Centre, Main St,
PLAY FESTIVAL
Foster, VIC
Hosted by FAMDA
ENTRY & CONTACT DETAILS
Entries to: PO Box 480, Emerald VIC 3782
Website: www.gemcoplayers.org/one-actplays
Entries to: PO Box 186, Foster VIC 3960
Contact: Bruce Crowl
Phone: 03 5682 2185
Email: [email protected]
Visit our website at www.theatrecraft.org.au/one_act_plays_vic.php for more details and to download application forms
auditions
SEASON
AUDITIONS
March 15–24
DECEMBER 6, 7:30 PM
For more information on the productions, including
exact performance dates, please visit our website:
www.theatrecraft.org.au
PRODUCTION
ENQUIRIES
DECEMBER 8, 7:30 PM CARAVAN by Donald Macdonald
Director: Dawn Hinrichsen
3M (40s), 3F (1 × 20s, 2 × 40s)
Bradshaw Street Community Hall, 9 Bradshaw St, Essendon West
DECEMBER 11, 10:00 PM Frankston Theatre Group
DECEMBER 12, 7:00 PM WAIT UNTIL DARK by Frederick Knott
Director: David McCall
5M (20s–30s), 3F (teens–30s)
The FTG rehearsal Shed, Overport Park, Cnr Somerset & Overport Rds,
Frankston South
March 2–11
0416 073 649
9789 3273
Mention under WHAT’S ON and AUDITIONS is for VDL Member Groups only
Season 5
and Plays
Two more AWARD WINNING ONE ACT PLAYS!
from the 2011 Noosa One Act Playwriting Festival
CROSSING
DELANCEY
by Susan Sandler
Director: Christine Grant
Nothing
November 10 –
December 10
by Mark Lanham 1 f 2 m comedy
Overall Festival winner
Season 1, 2012
The Knock on the Door
Winner of the Audience Choice Award
ROUND AND ROUND THE
GARDEN
peruse these and other great scripts FREE at
by Alan Ayckbourn
Director: Chris Procter
by Bruce Olive 2 f 2 m drama
www.mavmuse.com
07 5494 4007
[email protected]
*GUIFJEFBPGIBWJOHJOGPSNBUJPO
March 8–31 2012
Wanted: Actors, technicians, crew, handypeople, costumers.
The 1812 Theatre welcomes new members. Anyone interested in joining
our thriving group of thespians will be made to feel at home. We have a
beautiful little theatre only 45 minutes from the city where we rehearse,
build great sets, perform to packed audiences, and, above all, enjoy
ourselves! If this appeals to you, please phone us.
BCPVUZPVSDPNQBOZȁTQSPEVDUJPOT
Bookings & Enquiries: 9758 3964
BOE TFSWJDFT QSPNPUFE BDSPTT
DONATING TO THE VDL
7JDUPSJB
"VTUSBMJB
BOE FWFO 8BMFT
TPVOET
BUUSBDUJWFUPZPVUIFOXIZBSFOȁU
ZPVBEWFSUJTJOHJO5IFBUSFDSBGU
theatrecraft
4FFPVSBEWFSUJTJOHSBUFTPO1BHF
The Victorian Drama League is a Registered Cultural
Organisation approved by the Australian Government and
Taxation Office.
As such a donation made to the League is tax deductible.
The assets and activities of the League are a vital resource to
all its members, both groups and individuals.
The League receives no Government assistance in any form at
all, so any financial support from its members is invaluable.
A special thank-you to those members who have donated this
month.
Remember — donations are tax-deductible.
J;9>9EHD;H
Box Boom
The name for a particular place where lighting units are hung in
a theatre. A box boom is a vertical pipe standing downstage of
the proscenium in any of the side-wall box seats (which is where
it gets its name from). Modern theatres that don’t have side-wall
box seats, but do have vertical pipes mounted on the walls, also
use this term. If, however, the pipe and lighting units are hidden
behind a notch in the wall, the term “Cove” is more appropriate.
Box booms are numbered on a light plot consecutively beginning
with the pipe closest to the proscenium arch. (Example: “Since the
units on the box booms are in full view of the audience, we had
them plated in brass.”)
Box Set
A set with three walls (one upstage and one on each side of the
stage) and sometimes a ceiling or any set which fairly closely
resembles this description. Box sets are almost always interiors;
usually a home. A true box set looks like an oversized shoe-box
diorama.
Centre Line
A special type of line drawn on a Ground Plan, located at the plane
which bisects the stage left and stage right sides of the theatre.
It is a relatively thin line made up of a repeating pattern of: long
dash, short space, short dash, short space, long dash, etc. and has
the letters “C” and “L” overlapping each other at both ends of the
line. For dimensioning purposes, the Center Line is akin to the “Y”
axis on a graph.
Centre Line Section
A two-dimensional drawing of the scenery as it relates to the
theatre’s architecture. A Center Line Section is drawn in measured
scale and represents the view of the set from either wing.
Because the view from the wings would likely be obscured by
masking (and a lot of performers standing around), a convention
is established where only the objects on the opposite side of
the Center Line are drawn. This convention is referred to as the
“Cutting Plane” (see below). For most sets, the cutting plane is at
the Center Line unless indicated otherwise (and if so, the drawing
title simply becomes “Section”). This means that all objects on the
same side of the stage as the draftsperson, including set pieces,
are either not drawn or shown as a dashed line (known as a
hidden line). For this reason, sometimes a more than one Centre
Line Section is drawn from opposing vantage points. A Centre
Line Section is best for finding out information about the height
of set pieces, their relationship to sightlines (especially in the
case of a theatre with one or more balconies), and the elevated
locations of various set pieces and lighting instruments. Ironically,
Centre Line Sections tell us almost nothing about the relation of
any given object to the Centre Line.
Cross Fade
Using a light board to change the look of the lights onstage from
one appearance to another. (e.g. A bright sunny day becomes a
clear night.) A well-designed and executed cross fade looks almost
like the light is dissolving from one look to the next.
Crossover
The upstage place behind any stage curtains or scenery, which
allows performers to get from one side of the stage to the other
without being seen by the audience.
Cue
Any moment in the course of a performance, where there is a
change in the physical state. In the case of sound, a cue might
start music playing, and then a subsequent cue might lower the
volume as an actor starts to speak, and yet another might fade the
Stage terms: Part Two
music to silence when the scene comes to an end. Cues are most
often associated with lighting and sound (any given show quite
often has hundreds of light and sound cues), but cues are also
established when scenery needs to change, line sets need to fly,
effects need to be triggered, etc.
Cutting Plane
An imaginary plane associated with mechanical drawings
indicating what an object would look like if it were cut in half at
that place.
Dressing
Properties that aren’t necessarily handled or referred to by
the performers; the minutiae of set decorations that help
communicate the locale of a set and complete the stage picture
(e.g. posters, knick-knacks, fridge magnets, plants, rugs, etc — and
I do mean etc.!)
Electric
The name for a particular place where lighting units are hung in
a theatre. An electric is a horizontal pipe hanging upstage of the
proscenium (usually part of the fly system). Electrics are numbered
on a light plot consecutively beginning with the pipe closest to
the proscenium arch. (Example: “Line set #10 is the fifth electric.”)
Ellipsoidal Reflector Spotlight
A type of theatrical lighting unit that casts a relatively narrow,
sharpedged beam of light. E.R.S.’s (as they are also referred to) are
usually intended to be used further away from the subject they
are illuminating. The two most common typesgiven production
are the Fresnel and the Ellipsoidal Reflector Spotlight.
reviews
From Dandenong Theatre Company’s Songs For A New World:
Above: Hayley Wood
Left: (l–r) Adina Rabbone, Leighton Irwin and Marissa Carlos.
Photos by Darren Calder.
SONGS FOR A NEW WORLD
Written and composed by Jason Robert Brown
Directed by Colin Morley
Reviewed by Graeme McCoubrie – November 10, 2011
Dandenong Theatre Company is on the move again, with their
first production at this inviting location. With excellent facilities
and some 200 seats, it doesn’t go over the top with restrictions
and add on costs.
Songs for a New World is an abstract musical with a series of songs
linked only by a theme rather than a narrative. Written in 1995 for
four singers, DTC boosted it to nine characters, although there
were no names offered as to their characters. In general they
were all strong singers with one or two stand-outs. The musical
backing by Lee Armstrong (Drums), Alex Pech and Kevin Nguyen
(Keyboards) and Ben Pisani (Bass) was a broad range of musical
genres of pop, classical, jazz and some gospel and many songs
included two or more of these elements.
The set designed by Kym Davies was simple and effective with
well positioned boxes and ramps with side lighting columns
giving good depth and feeling that enhanced the performance.
The theatre has a good size stage and technical facilities that will
serve DTC well into the future.
The Band, located at the back of the stage, was at times a little
overwhelming but they did settle down to a more consistent level
and did not overtake the singers.
As I understood the story, as there was no synopsis available, the
singers are on board a ship heading for a new land full of hope;
praying and singing “carry us onto the new world” in the opening
number “The New World”.
Cast members Caitlyn Burt and Hayley Wood were strong in
their solos while both Leighton Irwin and Daniel Jow as the only
two males gave good support and convincing characterisations
in song and actions. Other cast, Marrisa Carlos, Amara Jensen,
Vicki Barden, Adina Rabbone and Gulcan Gulen, showed great
enthusiasm and added strong voice and balance to the ensemble
numbers.
Songs for a New World is not performed often and is not your
regular musical. It does not give a lot of scope to seasoned musical
performers; missing was linking dialogue that could have given
more detail to the theme. More movement and choreography
would have rounded off a thought-provoking theme.
Once again Dandenong Theatre Company is not afraid to
explore new ground rather than to rest their laurels on staid and
oft-performed works that date back well into the last century.
Theatregoers should look to DTC’s next work at the Cranbourne
Community Theatre; an exciting and obviously a versatile
performance venue.
JIGSAWS
by Jennifer Rogers
The Basin Theatre Group
Directed by Joe Tuppenney
Reviewed by Phyll Freeman – November 13, 2011
The Basin Theatre’s final production for this year was a comedy/
drama with a strong Australian flavour, penned by Jennifer Rogers
and situated in Perth, W.A. It gave glimpses into the lives of five
related women of three generations, over a period of twelve
months.
In the first act, the set, designed by the director, Joe Tuppenney,
was that of a 1940s vintage lounge cum dining room in the house
of Emma, the maternal grandmother. A lounge suite was placed
downstage centre with a dining setting upstage. There was a
small table with chairs downstage left for breakfast, and a bureau
on the audience right. Three large floral rugs were arranged over
the large floor space. The walls were covered by various paintings
and seen through the French windows upstage was a colourful
painted backdrop of the garden. The second act saw the room
given a modern make-over. Lighting by Peter Dalwood and Neil
Absolom was satisfactory as was the sound by Peter Bartlett.
Music, dating back to World War II, included a classic Vera Lynn
number, much to the delight of the mature sing-along audience!
With a cast of five women, we were treated to various histrionics
as the characters went about their lives. Grandma Emma (Jan
West), gained our sympathy with her sensitive monologue at
the end of Act I. Her metamorphosis in Act II took us by surprise.
Nice work, Jan. Aunty Pat, Emma’s daughter (Isobel McGibbon),
went through her own marital woes (as her skirts seemed to be
getting shorter!). Grand-daughter Monica, (Kylie Gray), reminded
me of Miss Goody Two-Shoes at first but she also had her “cross to
bear”. Her character became more of a flawed human as the play
progressed.
Monica’s elder sister was Alex (Tracey Stride). Alex’s sexual
proclivities were at odds with the rest of her family and Tracey
gave a fine performance as a young person trying to acquaint
them with the news. Her acceptance and eventual help brought
the girls together. The linchpin of this bevy of females was Emma’s
other daughter, Sylvia, brought to life by Sonya Wilson. She swept
in and out with great aplomb and had a dominating presence.
Even when eventually told of her inability to understand other
people’s problems, Sylvia’s change only lasted a few seconds and
then she returned to her previous attitude! A strong character,
beautifully realized by Sonya.
Audibility was fine, even though Jan’s voice needed a little more
power. The pace sagged after the aggressive first scenes and the
second act was too long; it needed a judicious pruning.
The audience (even the men) enjoyed the performance.
Congratulations to the director, cast and a very busy backstage
crew for a fun show and a few home truths!
HAPPY BIRTHDAY
by Mark Camoletti; adapted by Beverley Cross
Sherbrooke Theatre Company
Directed by Craig Maloney
Reviewed by Jill Watson – October 23, 2011
The setting is the living room of Bernard and Jacqueline’s country
house, designed by Sue Moon and Craig Maloney. There was a
raised area upstage with front door in the centre leading straight
into the living room. Décor was black and white, so not very
“country” looking. Plenty of chairs, couch, dining table and, of
course, loads of doors (six in total, I think) as this work is essentially
a farce. It was originally French; the adaptation sets it in England.
The plot, such as it is, involves Bernard inviting his mistress, Brigit,
to the house, despite his wife Jacqueline being there. It’s Brigit’s
birthday so he wants to be with her — aaah! As a ruse to flummox
Jacqueline, Bernard has also invited his oldest friend, Robert, and
asked him to pretend he is Brigit’s lover! Complications galore
arise when the temporary agency cleaner arrives, also called Brigit
and you’ve guessed it, Robert thinks she is his “mistress”. Add to
this that Robert and Jacqueline are having a fling, and a recipe for
mayhem ensues.
The play does go on a bit and feels a bit creaky, but the rather
slow pace didn’t help it; farce has to be very precise and fast and
should leave the audience breathless, but this didn’t happen. Not
to say that the performances were bad; in fact, there were three
stand-outs: Stephen Barber as the hapless Robert, good friend of
the host; Karen Bannon as Brigit 1, the temporary maid mistaken
for the mistress Brigit; and Rebecca Smith as Brigit 2.
Stephen has a very mobile face and his timing is excellent. He
works the stage well and portrayed the ineptness, frustration and
innocence of Robert so well. Karen has a great stage presence and
lit up the proceedings on her arrival. Her London cockney style
accent was well sustained and she made the most of her funny
lines and situation. The other characters were basically at her
mercy and she wielded the whip very well. Rebecca also made her
first entry really count. She looked attractive, as suited the part,
with lots of vamping and manipulation. Cameron South as the
scheming husband, Bernard, had a big part and never missed a
beat, but needed a bit more light and shade. Laell Raiteri as the
equally scheming wife, Jacqueline, gave a steady performance but
also needed more light and shade and frowned too much.
Costumes were well presented by Bronwyn King. Lighting worked
well depicting early evening and late evening, design by Craig
Pearcey, operated by Alastair Rice and Sue Moon. Sound design
(Pam Ford) and operation (Angel Lombardo) all worked, with
some well-chosen “old” tunes plus some car sounds!
A lot of hard work had obviously gone into this production and I
commend all involved.
The photos shows, (l–r) Sonya Wilson, Tracey Stride, Jan West, Issy McGibbon and Kylie Gray in The Basin Theatre Group’s Jigsaws. Photo by Sally
Larwood
(l–r) Stephen Barber, Karen Bannon, Cameron South, Rebecca Smith and Laell Raiteri in Sherbrooke Theatre Company’s Happy Birthday. Photo by
Jenny Ford.
JOSEPH AND THE AMAZING
TECHNICOLOUR DREAMCOAT
Music by Andrew Lloyd Webber
Lyrics by Tim Rice
Mornington CEF Players
Directed by Natalie Pharaoh and Ash Cooper
This was my first encounter with Mornington’s long-established
CEF Players and it was quite an experience! Joseph calls for a huge
cast including many young people so it was not surprising that St
Peter’s Bellamy Hall was packed with patrons of all ages and family
groups of all shapes and sizes. Also unsurprising was the general
hubbub and somewhat chaotic front-of-house that took a little
time to settle after the curtain rose. But it didn’t take long for the
cast to capture the audience and hold us all spellbound for the
next two hours.
Bellamy Hall has a rather small raised stage which restricts
the movement of a large cast and calls for some innovative
arrangements for the many tableaux and choreographed routines.
However, the company was able to present virtually continuous
song and dance action with no noticeable hitches and many quite
breathtaking sequences. In doing so the directors were assisted by
a competent production team led by two young choreographers
(Lauren Stewart and Maverick Newman, both of whom also played
key roles) and by stage manager Lisa Strickland, vocal coach
Malcolm Huddle and production coordinator Michael Beilken.
As a show with colour as a theme, one might expect Joseph to
be visually attractive and this surely was. Each of the scenes was
flamboyant and richly colourful thanks to brilliant costumes by
Louise Stewart and her several assistants including friends of the
cast.
With a cast of nearly 40, young and old, one might expect a
mixture of talents and some patchy performances, especially as
several in the chorus were as young as 8 or 10. But I was amazed
by the high standards maintained throughout the show; the
younger cast members were real troupers and appeared to be
enjoying themselves immensely. Space limitations permit me to
mention just a few of the cast so here goes: As well as overseeing
the choreography, Lauren Stewart played the key role of Narrator.
As a 15-year-old, Lauren was clearly the female star of the show
and most in the audience would have gone home thinking
that her excellent voice, movement skills and impressive stage
presence will ensure that this talented performer has a bright
future in theatre.
Another engaging personality was Mav Newman who played
Joseph. His performance was restrained and low-key, perhaps as
befits the role; however, Mav had some difficulty with enunciation
and delivery, especially in solo numbers such as the opening “Any
Dream Will Do”. He was more comfortable in group numbers,
leading me to think he was a little below par on the night I
attended. Other prominent cast members were Campbell Sewell
and Sam Knol who played Joseph’s brothers Reuben and Simeon
with considerable verve. Both have fine voices and moved well on
stage, in particular Campbell’s acrobatic tumble in Act I. Another
of Joseph’s brothers was Benjamin, played by Lachlan Williams,
who captured the heart of the audience.
I must also mention Summer Bulka who played Asher with a lot
of enthusiasm and whose voice had a rare quality, and Casey
Schmidt, another interesting voice and one who seems at home
on stage. Two of the more mature men delivered standout
performances. Ross Charlesworth was a totally credible Jacob,
exhibiting that rare quality gravitas yet showing believable
emotion when facing the apparent loss of his son. Then there was
Ash Cooper, who was one of the directors and also played the role
of Pharaoh. Ash was simply outstanding on stage, his excellent
voice and brilliant Elvis-like mannerisms and movements bringing
gasps and wild applause from the audience.
The chorus was wonderful and full of young talent. I particularly
enjoyed the numbers “Poor, Poor Joseph”, “One More Angel in
Heaven” (how touching!), “Close Every Door”, “Poor, Poor Pharaoh”
(Elvis!), “Benjamin Calypso” and of course the finale that brought
the audience to its feet. Was there anything to criticise? Very
little except the sound. The cast was miked so we heard every
word. However, the decibel level was generally too high, so when
overloaded the sound became distorted and lost some of the
colour in the better voices. Why must young people turn up the
volume to breaking point? But apart from this and the minor
turmoil before and during the opening, this was a thoroughly
enjoyable show and a great credit to all those involved at
Mornington’s CEF Players.
THEY’RE PLAYING OUR SONG
by Neil Simon
Directed by Alan Burrows
Reviewed by Phyll Freeman – November 16, 2011.
What a joyous way to finish the 2011 season! Malvern’s final
production for this year was They’re Playing Our Song with the
book by Neil Simon to the music of Marvin Hamlisch and lyrics
of Carole Bayer Sager. This is boutique musical theatre at its
finest. It was exciting to see Malvern’s small stage play host to the
wonderful forever-changing sets of this musical which were slickly
worked by the dancing boys and girls of the ensemble.
David Dare designed the intricate set with ever-enhancing
lighting by David Earl and satisfactory sound by Bruce Parr. The
choreography by Susan Lewis complemented the music direction
by Shirley White with help from Colin Prohasky. Great attention
was paid to the detail in the many and varied costumes, especially
the leads. The pace was fast and furious with strong voices,
well-articulated lyrics and spot-on harmonies. My favourite was
the poignant number “I Still Believe In Love” in Act II, beautifully
realised by Sarah Somers as the eccentric Sonia.
As Vernon Gersch, Chris Handley delightfully portrayed a
pernickety, talented musician who meets a zany, off-beat girl who
writes lyrics. It’s a story of boy meets girl, boy loses girl, boy gets
girl, all set to wonderful toe-tapping music. His partner in all this
was Sarah Somers as the wayward Sonia Walsk. Sarah literally
threw herself into the character with her colourful costumes,
which echoed her fervent enthusiasm for all things theatrical.
The very mobile ensemble, consisting of Lauren Seymour, Penn
Valk and Hope Long as Sonia’s muses, whom she called “the
girls”, together with Josh Cinco, Chris Rogers and Larry Dalton,
who were the male entourage for Vernon when he composed
his music, deserve a huge round of applause for their varied
roles — well done!
KIMBERLY AKIMBO
by David Lindsay-Abaire
Brighton Theatre Company
Directed by Vicki Smith
Reviewed by Phyll Freeman – November 20, 2011
At the end of the above play, an audience member said, “That
was weird!” I did not quite agree with that. My feeling was one of
admiration for the prolific author, David Lindsay-Abaire, to have
written such a play that brought to our attention many things,
such as the debilitating illness of a child, the family members and
how they approached the unusual situation, and the life journey
of the young girl concerned, giving it all a touch of the absurd.
Vicki Smith, the multi-talented director, assembled an experienced
cast to bring this to us. As Buddy, Kimberly’s father, we saw David
Swinoga, whose American accent was just right as he showed us
the flaws and dreams of an ordinary man faced with an ongoing
situation. The character’s monologue at the beginning of Act II
was very revealing and heartfelt. Buddy’s wife, Pattie, who was
very pregnant with her second child, was raucously played by
Michaela Smith, who had the unenviable task, as the character,
of working with both hands heavily bandaged. At times she
appeared to be like the mother from Hell!
Melanie Rowe, as Debra, the lesbian sister of Pattie, was
boisterous, bristly and loud. The character was a mixture of
explosive malice and childishness. John Murphy was Jeff,
Kimberly’s nerdy friend from high school, who loved to do
anagrams. He invested the role with a nice earnestness and gave
Kimberly her first teenage kiss.
The casting of one of Melbourne’s well-experienced actors, Eileen
Nelson, as the sixteen year-old Kimberly, was unusual to say the
least but it worked beautifully. Eileen gave the character a great
(l–r) Sarah Somers and Chris Handley in Malvern Theatre Company’s They’re Playing Our Song. Photo by Lorraine Bell.
Below: (l–r) Eileen Nelson, John Murphy and David Swinogo in Kimberly
Akimbo. Photos by John Shelbourn.
Above: (l–r) Melanie Rowe, Eileen Nelson and Michael Smith in
Brighton Theatre Company’s Kimberly Akimbo.
mix of childish ways interspersed with adult intelligence. Kimberly
wins in the end! This play required a great deal of attention from
its audience.
The back wall of the stage was constantly used, with slides to
show where and when the action was happening. The furniture
was all white and cubist in structure allowing for all the movement
by the cast. The wings were painted on audience left, with
comical-looking wild animals and very large takeaway chips on
audience right. For a financially-challenged family they loved their
takeaways! Set, sound and lighting were designed, and in some
cases, worked by the busy director, and costumes by Juliet Hayday
were just right for the seasons and the modern era of the play. All
the accents were fine.
One thought-provoking play! Thanks to Brighton, director, cast,
crew and FOH staff.
BLOOD BROTHERS
Book, Music and Lyrics by Willy Russell
Gemco Players
Directed by Tanya Ryder-Barnes
Reviewed by Richard Burman – October 29, 2011
Willy Russell’s musical play Blood Brothers was first presented in
1983 and looks at the story of twin boys, separated at birth, who
end up at different ends of the social scale. It is almost like a Greek
tragedy as we see at the beginning of the production the tragic
end which awaits the two boys and then trace their paths from
their birth to this inevitable conclusion.
As the stories of the two boys are developed, at the same time
the setting was divided into two halves, on one side the location
of the working class boy, on the other that of the wealthy boy,
with a two-sided set of steps like a stile linking the two. The small
musical ensemble of five was situated right at the back of the
stage and with clever lighting and setting was inconspicuous to
the audience.
The director chose to take the play, which is set in Liverpool, out
of that city and set it in Victoria by making some alterations to
place names and references. For me this did not ring true as the
dialogue and setting of the play are fundamentally English and
the Australian references sounded false.
Tanya Ryder-Barnes, though, assembled a very good cast. They
all attacked their roles with great energy and the play moved at a
cracking pace, especially in Act One when many of the actors were
playing juveniles. Her blocking had been well thought out and the
cast well directed through the emotional upheavals that were to
be portrayed.
It was hard to believe that Tracey Wadelton as Mrs Johnstone,
the mother of the twin boys, was playing her first main role. The
part is a long one demanding the portrayal of hopelessness of a
single mother trying to raise a large family, her loss at giving one
of her babies away and the shock of seeing her twin boys killed.
Under Tanya Ryder-Barnes’s guidance, Tracey gave a splendid
performance, always clear and articulate whether speaking or
singing.
The twins were played by Mat Greenaway and Tony Burges.
Mat had the pivotal role of Mickey, the poor twin. Here was
another fine performance. Mat skilfully portrayed a seven
year-old, a fourteen year-old, an eighteen year-old and a young
twenties. He showed a good sense of comic timing as the child
and convincingly took the audience with him as he acted the
frustrated and troubled young man later in the play. He was
matched by Tony Burges as Eddie, his twin. This role is not quite
as developed as Mickey but Tony also showed clever comic
acting as the child. He also conveyed the inability as an adult
to communicate with his twin well. The two actors worked well
together.
Holly DeMaria was cast as the wealthy woman, Mrs Lyons, who
wants a child and takes one of the twins from Mrs Johnstone.
Again a nice performance showing the contrast between the
two women in their attitudes to and their concerns about their
children. But there was a lack of clarity in the dialogue in the very
emotional scenes in the second act.
Mattie Phillips was the Narrator of the show, the person who
moves the audience from scene to scene and age to age and who
makes general comments on the proceedings. He did this well,
clearly but unobtrusively. Jacqui Allchin played Linda, the boys’
friend from childhood who eventually married Mickey. She, too,
conveyed the different ages of her character well.
Georgie Armstrong, Ross Houlsham, Sorcha Johnson, Stavros
Milionis and Amber Ryder Wilkes, together with Jacqui Allcin and
Mattie Phillips comprised the Ensemble who played all the other
characters with whom the twins come into contact.
A word of commendation must be made of the musical work of
the band which was always supportive of the performers and
never overpowering. The songs were competently delivered
by the actors, staying in character and conveying the varying
emotions. The lighting plot had been well designed and executed.
A good presentation by Gemco Players which was well received
by the audience.
BEYOND A JOKE
By Derek Benfield
Directed by Mel De Bono
Reviewed by Joan McGrory –November 27, 2011
This was a fun production and seemed to be enjoyed by the cast
and audience alike. The wide stage at Essendon was divided into
a living room (stage right) and a garden courtyard (stage left)
THE CEMETERY CLUB
By Ivan Menchell
Encore Theatre
Directed by Deborah Fabbro
Reviewed by Richard Burman – October 28,2011
Encore Theatre chose to end their 2011 season with a production
of that popular comedy The Cemetery Club. The director, Deborah
Fabbro, selected an excellent group of actors for the production
and a very enjoyable evening was had by the appreciative
audience on the evening I attended.
The unfolding of the plot rests very heavily on the shoulders of the
three women who are the members of the club: the three widows
who come together once a month to visit the graves of their fairly
recently deceased husbands. Each of them has a different outlook
on how to live your life after such a loss.
From Essendon Theatre Company’s Beyond A Joke:
Sitting left (l–r): Brian Richardson and Leigh Tangee
Behind the couch (l–r):Rodrick Chappel and Andrew Gemmell
Sitting right (l–r):Margaret Rawlinson and Karen Parrott
with appropriate greenery. The set designed by Mel De Bono
worked well. It consisted of exits via arches upstage and to the
left, leading to other parts of the house and stairway and also
from the courtyard leading to the summerhouse, pond and
garden areas. The obligatory “cupboard” was DSR. Properties were
undertaken by John Degrabriele. Lighting design was efficiently
handled and costuming by Lyndsey Burton and cast members
was in keeping with the play — loved the colourful “wellies”! I did
feel however that as the play was set in an English country house,
the introductory music (Percy Grainger perhaps?) might have
reflected this more than the Viennese waltzes used.
The play had the misunderstandings expected of this type of
comedy and concerned a family whose “house” seemed to be
accident-prone with six unfortunate deaths having already
occurred. The boyfriend of the daughter of the house was under
the impression that these deaths were murders and the ensuing
confusion added to the delight of the audience.
I felt that the play started off a little slowly but as the mishaps
gathered momentum the cast went with it, the pace picking up to
the conclusion.
Margaret Rawlinson as Jane, the wife and mother, did a sterling
job with good timing and a flair for the comic line. Roderick
Chappel as her rather sardonic husband also coped well, although
I suspect he may have had a little trouble with his lines at times.
As his obliging and forgetful sister, Sarah, Karen Parrott was well
into character and provided the audience with many laughs.
Leigh Tangee was Sally, the very attractive daughter of the
house and she portrayed well the consternation and concern
at the extraordinary behaviour of her boyfriend, Geoff. Bryan
Richardson was the, at times, hysterical Geoff and his portrayal
was extraordinary. Facial expressions, body language, timing
and athleticism were all excellent. My only criticism of Bryan’s
performance was that he was perhaps a little too loud against the
other characters.
Andrew Gemmell as the well-meaning Vicar also showed a flair
for comedy with his portrayal, and made the most of his cameo
role. The parents of the hapless Geoff were well undertaken by
Brian Moynihan and Nicole Rykers. The Body was played by Rob
Buttrose, who was (by the notes) “word perfect”, and he certainly
deserved to take his bow! Incidentally, congratulations to the cast
for their excellent final bow.
Overall, this was a most enjoyable performance and a credit to the
director, his cast and crew. Well done, Essendon Theatre Company.
Many thanks also to the front-of-house staff who were helpful and
hospitable.
Joan Krutli (Ida), Kathie Kenyon (Lucille) and Patricia McDonald
(Doris) were cast as the three widows. They worked splendidly
together, under the obviously careful guidance of Deborah
Fabbro, and it was easy to believe that the characters (and their
late husbands) had been friends for many years.
Patricia McDonald, as the more uptight Doris, easily conveyed the
type of widow who believes in maintaining the past relationships
and not moving on, while Kathie Kenyon played the effervescent
Lucille who considers the past is the past and life is for living to
the full. The two actors bounced beautifully off each other and
extracted every little bit of humour from their roles. They also
showed the changing and hidden thoughts of their characters
well.
The third widow, Ida, is in a time of her widowhood where
she is in between the views of the other two and who has to
act as peacemaker when they clash. Her portrayal of a woman
tentatively ready to put the past behind her and move on with
her life was skilfully acted, showing us both the confident and the
hesitant moments.
In this she was ably helped by a nice performance from Michael
Knuckey as Sam, the gentle, widowed butcher. His nervousness
in making approaches to Ida and the way his character was
manipulated by Lucille and Doris were clearly conveyed.
Cate Dowling Trask completed the cast in the cameo role of
Mildred. The author has given the actor little to work with here but
Cate created a nice little character. I liked the set and furnishings
for the living room: smart black and white with a table that
cleverly doubled for a seat in the cemetery. All the props were
suitable and the lighting design was effective and well executed.
From Encore Theatre’s
The Cemetery Club:
Top: (l–r) Joan Krutli,
Kathie Kenyon and Pat
McDonald
Bottom: (l–r) Joan
Krutli and Michael
Knuckey.
Photos by Bill Rendall.
(l–r) Gary Rens, Donna Cohen,Kellie Bray and Adrian Carr in Lilydale Athenaeum Theatre’s ‘Allo ‘Allo. Photo by John Shelbourn.
There was very little to criticize in this production which had been
carefully directed and ran very smoothly, but there were a couple
of things which slightly jarred. Because of the setting of the chairs
on the stage and the positioning of the doors and stairs there
were a few times when the actors spoke right across the stage and
not to the audience. At these times the volume dropped and the
lines were a little hard to hear. Additional projection was needed
here. Also, the sound effect of the boiling kettle in the kitchen was
appropriate but ended too quickly when the character went off
stage into that room; they scarcely had time to reach the switch
before the sound stopped. But these were minor blemishes on a
fine production.
‘ALLO ‘ALLO
By Jeremy Lloyd and David Croft
Lilydale Athenaeum Theatre Company
Directed by Nicholas Ryan
Reviewed by Barry O’Neill – November 19, 2011
For those of you who do not know, ‘Allo ‘Allo was a British
television sitcom series that ran 85 half-hour episodes from 1982
to 1992. Set in the occupied area of France in World War Two, all
of the action takes place in and around a café owned by Rene
Artois who variously aligns himself with the German forces, the
Gestapo, the Italians, and the French Resistance. He is also hiding
two British airmen and having affairs with both of his waitresses,
which he desperately hides from his wife. Last but not least he is
responsible for making sure the Germans do not get their hands
on the village’s famous piece of art The Fallen Madonna with the
Big Boobies by Van Klomp.
This production was in two one-hour scenes, the first with the
famous painting as the main subject, the second half featuring
every character eventually impersonating Hitler. The ‘plots’ as such
are fairly irrelevant and I don’t think anybody is really interested
in what happens. The humour comes from the characters and
their antics (some more ridiculous than others), wayward accents,
farcical situations, and very funny gags. So you need a very clever
cast to make sure the stage show meets the standard set by the
TV series. Director Nicholas Ryan was able to assemble a very
talented group and produced a great show.
In the key role, Adrian Carr was superb as Rene the long suffering
café owner running the gauntlet between the occupying forces,
the resistance, his mistresses and his wife. Adrian used all his skills
and experience, plus a faultless accent to deliver an outstanding
characterisation. So did Megan Coe as Helga, Herr Flick’s lover;
in such a strong ensemble cast, Megan’s performance was
particularly convincing and memorable. Tina Bono, making her
stage debut with flair, was vivacious and provocative as Yvette
(one of Rene’s love affairs); whilst the ever-creative Donna Pope
displayed another side of her skills as Rene’s second waitress Mimi.
Kelly Bray’s Edith was another wonderful characterisation,
driving everyone (including the audience) to distraction with her
nightclub routines; Rhiannon Leach was impeccable (I shall say
this only once) as Michelle of The Resistance; and Justin Stephens
was annyinglie injyable as Crabtree with the strange accent.
Plaudits also to Keith Hutton, Les Wallis, Gary Rens, Kieran Tracey,
Michael Hanlon, Steve Hills, Ian Carter, and of course to “It is
I — James McRae” in their various roles. This was a marvellous
ensemble piece; everyone played their part convincingly and
with obvious enjoyment. I must also mention Declan Carr, Brad
Pittaway, Julian Walker, Stephanie Linsdell, Daniel Luxford and
Rebecca Pool who, on various nights throughout the season took
on those thankless “no lines, but can you just be there in this
scene” roles.
From the technical perspective, Merinda Backway’s set design
was very impressive featuring twin revolves that allowed multiple
scene changes with a minimum of noise and delay, no doubt
due to the backstage efforts of stage manager Carissa Hardie,
Rebecca Pool and several helpers. Set dressing was detailed and
impressive, with costuming from Sylvia Carr and Margaret Bailey
also very inventive and authentic. Lighting design by Colin Morley
was well executed by operator Terry Dean, whilst Nick Ryan’s
cleverly constructed sound design was equally well operated by
Sebastian Carr.
In summary, a very enjoyable night, obviously appreciated by a
good audience who laughed often and occasionally delivered the
line ahead of the actors.
EDUCATING RITA
by Willy Russell
Strathmore Theatrical Arts Group
Directed by Brett Turner
Any intense and tightly-scripted drama demands direction and
acting of a high order and this is especially true of Educating Rita
because only two actors are involved and because the dialogue
is particularly sophisticated, interlaced, rapid-fire and often
charged with emotion. Over the course of some 15 scenes, all set
in the office of academic Frank, he and his working-class student
Rita reveal aspects of their complex personalities as they bond
intellectually and emotionally. She is frustrated with her deprived
and shallow life as a hairdresser, he is laconic and morose as a
disillusioned and alcoholic-dependent educator. Frank finds
Rita intriguing and becomes fascinated by her naïveté while she
becomes reliant on Frank for her personal development. As the
relationship deepens, the two personalities change; Rita becomes
self-confident and assertive while Frank degenerates and in a
somewhat unsatisfactory final scene leaves the university.
Both actors performed with distinction. The talented Jennifer
Piper was perfectly cast as Rita, her vivacity, energetic moves and
authentic accent bringing home the kaleidoscopic personality
of her character throughout what must have been a demanding
performance. From the moment Jennifer burst into Frank’s office
we in the audience knew he was doomed. The experienced Robert
Harsley was equally well cast as Frank. Phlegmatic, taciturn,
sometimes droll and occasionally angry, his character was entirely
believable, even to the point of eliciting sympathy as the effect of
alcohol and low achievement took its toll. Both actors were able
to use pauses to good effect and both took great pains to convey
their emotions through barely perceptible gestures and facial
expression.
The set was what one might expect of an academic’s office yet
it allowed both actors to use the whole stage. There were heaps
of books arranged in a semi-chaotic way and concealing the
odd bottle of scotch here and there, well-worn desks and chairs,
strategically placed, and realistic windows and doors, paintings
and certificates of qualification, a notice board and so on. There
was great attention to detail, with even a sign “Dr. Frank Bryant” on
the outer door, all designed by the director with assistance in the
construction and props from Ian Cairncross, Adrian Valenta and
Jackie Fraser. Lighting by Callum Robertson was first rate and the
sound, including evocative music during darkened scene changes,
was appropriately low-key. Jackie Fraser was stage manager and
as expected there were no hitches despite Rita’s many costume
changes.
As usual, the audience found a warm and friendly welcome in
the foyer to introduce what was a very satisfying performance.
Educating Rita brought to an end what must have been a very
successful year for the Strathmore team. We look forward to still
more interesting plays from this long-established company in
2012.
FAWLTY TOWERS
by John Cleese and Connie Booth
Beaumaris Theatre
Directed by Georgy Charles
Reviewed by Phyll Freeman – November 27, 2011.
Beaumaris Theatre have provided a fitting end to their 2011 season
with another three episodes of Fawlty Towers, following on their
initial foray (unseen by the reviewer), into earlier episodes in 2009.
The recent ones were “The Psychiatrist”, “The Anniversary” and
“Basil the Rat”, first broadcast in 1979 and set in the seaside town
of Torquay, the ‘English Riviera’, in a hotel managed by Basil and
Sybil Fawlty.
Georgy Charles directed again with set design by Neil Barnett,
sound by Brian Uniacke and excellent lighting designed and
operated by Alan Crispin. Lighting cues were spot on! Costumes
by cast, Debbie Keyt and Jenni Osburn were strongly reminiscent
of the 1970s, especially the green tiered frock on Debbie, herself.
Loved the leathers on Mr Johnson (Mark Briggs). The set consisted
of dining room/kitchen on audience left with hotel reception area
and stairway centre, with exit upstage right to front entrance and
(l–r) Neil Barnett, Michael Young, Trudi Sheppard, Anna Johnston and Justin Royce in Beaumaris Theatre’s Fawlty Towers. Photo by Pietro Giordano.
three doors plus one bedroom on audience right. A very tight fit!
Typical music enhanced various situations.
With a cast of 18 actors portraying some 28 characters, everyone
managed their quick changes well. Most of the voices were loud
and clear even with all the chaos around them.
Justin Royce reprised his role of the manic, acrobatic Basil Fawlty
with great gusto, but unfortunately his speeches sound gibberish.
On the other hand, Trudi Sheppard as the redoubtable Sybil, did
not put a foot wrong! She oozed the character through every
pore, much to the audience’s delight. Anna Johnson as Polly was
called upon to do many things other than waitressing — good
work. Peter Kostopoulos portrayed Manuel, the Spanish waiter,
with dedication. His character came to the fore in Episode Two
and especially Episode Three with Basil the Rat. My favourites
were the eccentric trio of the forgetful Major Gowen (Neil Barnett),
Miss Tibbs (Bernadette Kinsella) and Miss Gatsby (Robyn Morris);
their constant antics were delightful. Although space does not
allow me to name everyone, mention must be made of Michael
Young in the dual roles of the jovial Roger in Episode Two and
the pedantic health inspector, Mr. Carnegie, in Episode Three. The
constant pace in all three episodes was hectic in the extreme, so
much so that I felt two episodes would have been sufficient and
much less exhausting to follow. I must not forget Basil the Rat, in
Episode Three. I am not sure if it was Mies van der Rohe or Albert
that appeared on Sunday; from the back of the theatre it was hard
to tell.
Full marks to all concerned with this mighty effort - backstage
members took a well-earned bow, with special thanks to the FOH
staff, and Beaumaris can be proud of their latest production.
constructive criticism.
Scott, you got the three main elements right but you allowed your
enthusiasm to outweigh your judgement. What appears to be fun
in rehearsals does not always translate to an audience who have no
idea of the “in jokes” or how business develops. It’s your job to make
sure that what the audience sees is what the author intended and
not an undisciplined collection of actors’ interpretations. You have
the eye for it, some of the business was excellent but keep your eye
on what is being presented, it is a really difficult genre and should
be treated seriously, by doing so you will achieve far more creative
satisfaction.
The play is set in the Erlanger Theatre in Buffalo, New York and deals
with the problems of two ageing repertory performers who are
offered a chance at the big time, of course everything goes wrong.
The set, considering Geelong’s limited space, was excellent and the
actors made good use of it. Not happy with no scenery behind the
entrances, but space is a problem. Loved all the posters; I couldn’t
find any anachronisms.
Sound and lights worked effectively giving atmosphere where
needed. Wardrobe and props (what a great time they must have
had) was spot-on and reflected the poverty and the paucity of the
troupe’s wardrobe and props departments.
I’m not going to mention actors and actresses individually. I’ve
seen most of them before doing wonderful things. The stage
was packed with talent and all performed their roles with lots of
enthusiasm within the parameters set by the director.
Despite my criticisms it was a fun evening, as it always is at
Geelong.
OVER THE MOON
MOONLIGHT AND MAGNOLIAS
By Ken Ludwig
Geelong Repertory Theatre Company
Directed by Scott Beaton
Reviewed by Ewen Crockett – November 24, 2011
By Ron Hutchinson
The Mount Players
Directed by Sonja Prater
Reviewed by Ewen Crockett – December 3, 2011
Many years ago when I was auditioning people for a farce I was
confronted by a young auditionee who ran frenetically around the
stage and, whenever possible, uttered his lines at the top of his
voice. I asked him if he knew the definition of farce, his reply was
“Oh yes, acting quickly and loudly.” No! The definition of farce is
(and remember this) “believable people in impossible situations
exaggerated to incredulity”, with the emphasis on “believable”.
It consists of three things: Pace; Timing; Spontaneity. The only
theatre that would be more difficult to perform would be to carry
a four-hour monologue on the life of Richard Nixon and make it
breathtakingly exciting.
Geelong Rep’s production certainly had pace, their timing was
excellent and their spontaneity was well rehearsed (as it should
be, otherwise spontaneity is called a stuff-up). Unfortunately that’s
as good as it got as far as this production is concerned. It was
undisciplined, over frenetic, overplayed and overloud. How often
does the point have to be made? If you start at the highest vocal
level you have nowhere to go except down. Underplaying in farce
makes the actors more believable, the situations more impossible,
the jokes more pointed and the incredulity becomes fun. The
bonus is that you finish up with a show that the audience enjoys
more because:
≠
They don’t have to cover their ears because of the
shouting on stage.
≠
Therefore they hear more of what is going on.
≠
They leave happier and with a better understanding of
what they have just seen.
≠
You have the knowledge that you have mastered the art
of farce.
If this all sounds more like a critique than a review then that’s
because farce is my genre and I believe that I have a bit to offer in
For one reason or another I have managed to miss every
opportunity to see this play, but the wait was well worthwhile. The
Mount Players’ production was elegantly set in an appropriately
glitzy 1930s Art Deco office overlooking the back lot of a movie
studio. The set was huge, using every available space that the
staging area had to offer, and that space was needed as the actors
romped, rolled and rollicked around the stage.
This play was entertaining and amusing from start to finish.
Pace was frenetic (a bit too much so at times), timing was good,
characterisation was excellent and diction and delivery was clear
and coherent but did become a little shrill in some of the more
frenetic scenes.
Lighting design, by Scott Hasse, was beautifully understated
lending quality to the production without overwhelming it.
Changes to time of day, or night, worked well. Particularly
evocative was the dawn rising through the window at stage rear.
Sound design, by Paul Heywood, was one of the most
complicated I’ve ever heard running from incidental music to
gunshots, the burning of Atlanta, horse and carriage and a myriad
of other effects that underscored the re-enactment of Gone With
the Wind.
A very busy back stage crew, led by stage manager Andrew
Hamilton, suitably and quickly attired the pristine set with the
carnage created by three manic men and one infallible female
secretary during five sleepless days of writing. This transformation
was a delight to see.
The play, of course, deals with the famous re-write of the
screenplay for Gone With the Wind and is hilariously funny in parts
and filled with pathos in others, but there is a subtext to the play
that deals with some moral issues prevalent in the USA in the
1930s, namely the huge gulf between black and white culture.
There is a very moving scene where Ben Hecht pens a speech for
Miss Prissy, housekeeper at Tara and Scarlett’s maid, and another
underlining the reticence to accept any creed that could not be
immediately identified as being American. Is David O Selznick
American or a Jew? Both these scenes (and other similar) were
very well handled in making the point but staying light enough
to bring no offence. I suspect that the careful and meticulous
direction had a lot to do with that and with the overall success of
the production.
The three main actors (and there are no leads in this play) David
Runnalls as David O Selznick, David Cubely as Ben Hecht and Craig
Lenaine-Smith as Victor Fleming, are to be congratulated for their
energy and enthusiasm. I did notice a few fumbles but they each
knew the play well enough to help each other out when required.
Margaret Muehlheim as Miss Poppenghul was a very able,
flustered, frustrated but infallible support, beautifully caricatured.
The Mount Players just seem to go from strength to strength, very
well done to all.
UNDER MILK WOOD
By Dylan Thomas
Directed by Chris Baldock; Assistant Director: Helen Ellis
Reviewed by Joan McGrory – December 1, 2011
This production was going to be a challenge for any company to
undertake. Written in the 1950s by a poet and playwright, Under
Milk Wood has a host of fans who also have high expectations as
to its performance. Originally written as a play for voices there
must have been some trepidation amongst the audiences of what
they were to encounter.
This one member of the audience sat enthralled for the 90minute-long performance and walked out of the theatre
“surrounded by magic”. I cannot remember when I last sat through
a production that was such an excellent melding of creativity,
technicality and production — a true ensemble production.
The play itself relates to the lives of the inhabitants of a small
Welsh seaside town, Llareggub, for the cycle of one day. On a
larger scale, it also reiterates the cycle of life and death, imaged
by the references to those who have died and the births of many
babies by the generous, loving and productive Polly Garter. It is
a lovely play encompassing love, both requited and unrequited,
bawdiness, sadness, simplicity, happiness and longing,
repression — emotions of the human spirit and all wrapped up in
the most beautiful language.
“To begin at the beginning”… the set was constructed on a
platform accessed by steps and consisted of a series of tall
rectangular boxes(?) creating an illusion of a panorama of
buildings which, with its central opening, also provided a number
of entrances/exits. The revolve also accentuated this. What I
particularly liked were the two short lines of washing at either end
of the set, tied diagonally to two lampposts on either side of the
stage. This instantly created the domesticity of the play with its
ordinarily extraordinary characters! Overall the setting was always
defined by the characters and the excellent illumination. Nothing
detracted from the spoken language.
The set design was by George Tranter, sound design by George
Bisset with original music by Paul Karafillis, and the lighting design
was by Deryk Hartwick. Costuming was by Wendy Drowley and
Diane Brennan with props and decor by Maureen McInerney, and
with the work of the HTC members the smooth operation of this
extraordinary production was ensured; not forgetting, of course,
the production crew and the stage manager, Melanie Belcher.
With a cast of 15, it is impossible to list the individuals. But this was
true ensemble acting with each member of the cast undertaking
multiple roles and showing an extraordinary versatility with
each character. I particularly liked the pairing of opposites; dark
voices against light, and the chorus role of the cast in various
excerpts. One such instant was the chorus of “ticking clocks” all
with different sounds and orchestrated to the speech of the rather
nutty Lord Cut-Glass who collected clocks of all sorts. Wonderful
stuff!
Sandy Green who was the dialect coach must have been very
proud of her charges, as the dialogue was consistent throughout,
all enhancing the poetry of the language. Well done.
The elimination of the First and Second Voices of the original play
and replacing them with the actual actors was inspirational and
as the director mentioned in his notes, this was to keep the action
visual and interesting. It certainly worked and I really have to
mention some instances.
The schoolmaster, Mr Pugh and his domineering wife, played
by Dan Hagan and Janine Evans, illustrated this beautifully. To
listen to Mr Pugh’s ranting of what would happen to his wife
when he poisoned her: “her ears fall off like figs…” and then
the complete change to the actual dialogue, “You know best,
dear” followed by Mrs Pugh’s, “Mrs Pugh smiles…” a smile which
would strike fear into any heart! Similarly, Mrs Ogmore-Pritchard
(Glenda May), a glass widow and hygienic harridan with her
two ghostly husbands, Mr Ogmore and Mr Pritchard, played the
small cameos with perfect timing, causing much hilarity in the
audience. The simpleton Bessie Bighead, portrayed by Natasha
Boyd, was another instance of the versatility of the actors.
Completely unrecognisable in appearance and voice, this was a
great performance. Barry Lockett played the Reverend Eli Jenkins,
the poet and pastor of the village, and also the lovable drunkard
Cherry Owen (amongst others). And, of course, blind Captain Cat
portrayed by Paul Freeman, was the link between the present and
the past with his dead comrades and loves.
This production was excellent, a true ensemble performance with
the expertise of all involved bringing to life one of the classics of
modern literature. Highest praise must go to Chris Baldock as the
director and to Helen Ellis as his assistant. Bravo!!
Congratulations to the Heidelberg Theatre Company for a truly
memorable and magical production.
From Heidelberg
Theatre
Company’s
Under Milk
Wood:
Top: (l–r) Stephen
Shinkfield,
Natasha Boyd,
Tim Constantine,
Alastair Rice
Bottom: (l–r) Tim
Constantine,
Venitia Macken,
Alastair Rice
Photos by
Patricia Tyler.
ADVERTISE IN THEATRECRAFT!
Prices for VDL Members and Non-members (per month per insertion).
1⁄8 page = 65 mm deep x 90 mm wide
Members
Non-members
Casual
$29
$43
3 months
$26
$40
6 months
$25
$38
Year (11 issues)
$24
$36
6 months
$32
$48
Year (11 issues)
$31
$47
6 months
$58
$86
Year (11 issues)
$55
$83
¼ page = 130 mm deep x 90 mm wide
Members
Non-members
Casual
$36
$54
3 months
$34
$50
Members
Non-members
Casual
$66
$98
3 months
$60
$90
Full Page = 265 mm deep x 180 mm wide
©Disney
½ page = 130 mm deep x 180 mm wide
Members $120; Non-members $180 (subject to space availability)
If your advertisement has to be set up by the Editor, there will be a setup fee.
Enquiries to: [email protected]
Advertisement files to: [email protected]
FLYER INSERTS:
Have a Flyer inserted in Theatrecraft to advertise your next
production or business to a captive audience of theatre people!
For VDL members the cost is only $55 for a single sheet A4 flyer. For nonmembers the cost is $80 (450 copies). Larger brochures cost more.
Printed flyers must be delivered by the 20th of the month to the Office/
Library for mailing out with Theatrecraft.
You need to book with the office on 9663 4222 or email:
[email protected]
AUDITION & WHAT’S ON NOTICES
These are available free to members, and appear in both Theatrecraft
and the VDL Website. Email: [email protected]
THEATRECRAFT
Volume 35 Issue 11
December 2011
THE VICTORIAN DRAMA LEAGUE
COMMITTEE, OFFICE BEARERS, &
STAFF
ISSN 0311-7138
President: Richard Burman
The Victorian Drama League
3rd Floor, Ross House
247 Flinders Lane
MELBOURNE 3000
Library Hours: 10:00 am – 3:00 pm
Monday, Wednesday, Friday
Vice President: Edna Bartlett
Acting Secretary: Richard Burman
Acting Treasurer: Edna Bartlett
General Committee: Andrew McMillan
Website: www.theatrecraft.org.au
Awards Sub-committee convenor:
Jill Edwards
PHONE/FAX: 9663 4222
Office Staff:
David Crothers
Email: [email protected]
[email protected]
[email protected]
[email protected]
[email protected]
Webmaster: Geoff Kidd
Theatrecraft Editor: Damian Vuleta
Note: Any correspondence addressed to any area
of the VDL will not be formally acknowledged if the
correspondent is not identified.
MEMBERSHIPS & SUBSCRIPTIONS
11 issues of Theatrecraft are printed each
year (not in January). To receive Theatrecraft,
it is not necessary to be a member of the
VDL—see below.
GROUP:
Interstate: $140 pa;
Victoria: $150 pa
Includes Theatrecraft, full hiring rights with 2
membership cards issued. Groups can borrow
sets of plays and a representative is entitled
to vote at the AGM.
PLAY READING:
$75 pa
Includes Theatrecraft and hiring rights for sets
of plays (for a limited time) for readings only
(not performing). A representative is entitled
to vote at the AGM.
INDIVIDUAL:
$55 pa
Includes Theatrecraft and hiring rights, single
play copies only. An individual is entitled to
vote at the AGM.
THEATRECRAFT DEADLINES:
1st of the month for ADVERTISING/EDITORIAL
e.g. April 1 for May issue. To reserve space, material is then required by the 10th at the latest.
Email [email protected]
10th of the month for WHAT’S ON/AUDITIONS
e.g. April 10 for May. Please submit details on the VDL website: www.theatrecraft.org.au
20th of the month: FLYER INSERTS
These must be received at the Office. Please book with the office.
SUBSCRIPTION:
$40 pa
This is for Theatrecraft only. It does not make
you a VDL member, and subscribers are not
permitted to hire from the library
Membership and Subscriptions are for the financial year
from July 1–June 30. Check with the Office for appropriate
pro-rata part-year rates.
PHOTOS:
If your show is being reviewed, please send a photo from your production to publish with
the review. Email to [email protected]
!"
#$
%$&
'( %)* * !+
! "#$ # ! "#$ #$
! %#" $ &'() *+ , -. / .

December 2011 - Victorian Drama League

Transcription

Similar documents

attached pdf. - Department of English

Simply by - Mayflower Theatre

FrINge MuSIc tHeatre FILM

Calendar - Capilano Courier

2015-2016 season - The Ensemble Theatre

Mirvish Productions

Program

A PDF - Orpheum Theatre

LGT_60-65_Layout 1 - Leisure Group Travel

Camelot is presented with special permission from Tams Witmark