August 2011 - Victorian Drama League

Transcription

theatrecraft
THE VICTORIAN DRAMA LEAGUE INC.
ISSN 0311-7138
webpage: www.theatrecraft.org.au
ADULT SUMMER SCHOOL 2012
IS COMING
Here’s some information about the tutors
ACTING STREAM
Geoff Wallis graduated from the Victorian College of the Arts. He has appeared
in productions of Much Ado about Nothing, Macbeth, Twelfth Night, Hamlet, Angel
Fall and The Sun Also Sizzles. Added to this, Geoff has appeared in a number of
musicals, including Blood Brothers, Scrooge and Sweet Charity. Geoff is well known in
improvisational circles, having been a member of Impro Melbourne for many years,
and has been heavily involved Theatresports, both participating in it, and the teaching
of it. He has also appeared in many improvised performances, including Spontaneous
Broadway, Completely Lost in Space, Jaws! The Musical, Murder to Die For, and The Linda
Blair Witch Project. Geoff’s television appearances include Neighbours, Blue Heelers, Phoenix and The
Adventures of Lano and Woodley. In 2004, Geoff wrote and directed Dead Tragic, a play which managed
to make an appearance on the Drama and Theatre Studies Playlist for Unit 3.
I cannot say enough about Geoff’s talents as a director. I have watched him, at a number of summer
schools, take people who may not have acted much at all, and have them turn in unbelievably great
performances. Anyone who has attended past summer schools and has been under Geoff’s tutelage
will know exactly what I am talking about. This is a golden opportunity for those who have not
been to one of our summer schools yet, or even those wanting to make a return visit, to come and
experience two days like no other.
DIRECTING STREAM
Liz Lipski has acted in and directed many productions over the last thirty years,
although she has taken the last few years off to study. Liz also taught drama for a
number of years, and was a VDL adjudicator for three years, travelling round the
state judging performances and productions. Liz has also been the event manager
for each of the adult summer schools that the VDL has presented. Liz studied acting
with a number of practitioners and the Meisner Technique as having the greatest
influence on her beliefs about acting. However, while the Directing Stream of the
next adult summer school will concentrate on getting the most out of one’s actors, it will also go into
how you can get the most out of the script you are working on.
For enquiries about Adult Summer School, email Liz at [email protected] or phone 9509 9992.
NATIONAL ONE ACT PLAY
FINALISTS
The four One Act Plays judged as Finalists for the National Playwright Competition 2011 were
presented at the opening week of celebrations at the new Kew Court House Performing Arts Centre.
City of Boroondara’s Cr Brad Miles presented the Awards after the first performance noting that these
plays were the first ever performances in the new space.
The finalists were from three states and the Open Awards went to:
email:[email protected]
August 2011
The Victorian Drama League
Annual General Meeting
Individual Members and Company
Representatives invited to attend.
Saturday September 17, 2011, 1:00
pm, in the front meeting room, 3rd
Floor, Ross House, 247 Flinders Lane
Melbourne.
Notice of Meeting and Nomination
form are printed on Page 3.
INSIDE THIS ISSUE:
Office Notes
2
VDL AGM Notice
3
Tech Corner
10
Advertising rate change 10
2011 VDL Award list
11
What’s On
12
Auditions
14
One Act Festivals
15
Simon Crean at CLOC 19
From The Shelves
20
Theatrebooks
21
VDL Awards Dinner
Entry Form
23
Membership and
Contact Details
24
REVIEWS
DEATH OF A SALESMAN 4
Lilydale Athenaeum Theatre
4
WE HAPPY FEW
Eltham Little Theatre
BEAUTY AND THE BEAST 5
Swan Hill Theatre Group
THE FARNSWORTH
INVENTION
6
Malvern Theatre Company
6
ROPE
Essendon Theatre Company
7
HEROES
1st: Criminal Minds by Paula Armstrong
A black comedy with a twist that has hostage, torture and extortion. The perfect plan??
FAMDA
2nd: I Remember I Remember by Ray Wilson
A school teacher’s common room with a new teacher about to take his first class
Mordialloc Theatre Company
3rd: Trapped In Camberwell by Carmen Saarelaht
Struggling with marriage with a visit from a sister
JUNE SEASON OF
ONE ACT PLAYS
and the Youth Award: What Will The Papers Say by Emily Tuckey. A satirical look at politics and
politicians while keeping up appearances
Peridot Theatre
These four works are now available for performance by Theatre Groups and Schools and details can
be obtained from Kew Court House Arts Association on [email protected]
Geelong Repertory Theatre
HEROES
16
16
DR. JEKYLL & MR. HYDE 17
MURDER & MIRTH
Hartwell Players
18
office
From the
Secretary’s
Desk
From the
VDL Awards
Convener
Another end of financial year for the
VDL. The year has been very busy in
many ways. We are now organising
the audit of the financial records and
preparing for the Annual General
Meeting. We have had some financial challenges this past year,
and we will report to you all at our AGM on September 17 at 1:00
pm. The organisation belongs to you. Your attendance and your
input to our meeting would be appreciated. The official Notice of
Meeting appears on Page 3 of this issue. A nomination form is also
reproduced to encourage you to nominate for committee. There
will be at least six vacancies, so we do need you.
My, how time flies! It is August
already! The VDL Awards SubCommittee is busy all year around
these days and we are currently
focused on preparing for the 15th
VDL Awards Presentation Night. This is my 10th Awards, can you
believe it?
Planning for the Adult Summer School and Youth Summer School
is well underway. It is August, and members should be registering
their interest if they wish to attend. For Adult Summerschool
contact Liz lipski on 03 9509 9992 (email [email protected]) and
for Youth Summerschool contact Jo Watt on 03 9888 0198 (email
[email protected]).
Once again, the VDL Awards presentation night will be held at
Merrimu Reception Centre, 1300 Dandenong Road, Murrumbeena,
on Sunday, December 4, commencing at 6:00 pm for drinks and
nibbles with an 11:00 pm finish. This is a real formal affair, so it is
time for the fellas to dust off the dinner suits and the girls to glamup! The wonderful Peter Newling will be returning as our Master
of Ceremonies, so we have ensured a really fun and exciting event.
One Act Play festival seasons have started in earnest. Whilst each
Festival is independently run, we support and publicise these
events. Already indications are that entries are less this year. These
festivals are worth supporting, and the list of remaining festivals
appears in this issue.
Many of the costs of running the VDL are rising. Postage for
parcels have risen twice this year. The first rise was 5% in April,
and the second in July was 5% for Victoria and Tasmania, and 10%
for the rest of the country. This price rise reflects the increasing
transport costs involved in transporting and delivering mail. We
are reviewing some aspects of our pricing and we have revised
our Theatrecraft advertising rates and flyer insertion charges. In
particular, the insertion of cardboard/heavy paper flyers costs
more in postage than paper ones, so must incur a higher charge.
The new price table is on Page 10. Members with long-term
advertising will not incur the higher charge until their current
agreement expires.
The VDL Awards presentation night will be Sunday the 4th of
December, 2011 from 6:00 pm to 11:00 pm., at Merrimu Receptions,
Murrumbeena. The booking form is in this issue on Page 23. Early
booking is very useful. Some entries are still being adjudicated,
and others are to come. With 28 productions this year, the
adjudicators are being kept busy.
Do you enjoy writing? The VDL would be interested in receiving
expressions of interest from any member who is interested
in writing reviews for Theatrecraft. Vacancies and periodic
unavailability of reviewers mean that we should have a reserve
‘bank’ of reviewers to service a growing need. Reviewers meet
annually to discuss writing style and presentation. Reviewers
should be active in community theatre and have directed a
number of productions. Michael Mace is our reviews co-ordinator,
and he is in the office every Monday morning.
See you at the AGM. Please let us know you are coming, and we
will put another cake on the afternoon tea plate for you.
Geoff Kidd
[email protected]
Page 2 — Theatrecraft August 2011
In this issue of Theatrecraft you will find a booking form for the
2011 VDL Awards Presentation Night. The VDL Committee is
extremely proud to announce that our all inclusive ticket price
has remained the same as last year, despite the rise in cost of
everything!
Our Adjudicators have been kept very busy this year seeing 28
productions. They are constantly reviewing their results as they
see each performance to ensure they mark consistently. August
to October is well over the halfway point, with about seven more
productions in this years VDL Awards season to be presented.
The trophies will be ordered soon and will sit waiting at V.F.
Trainor’s for the vital information to be inscribed in late November,
ready to be received by the lucky recipients. So, make sure you
book now to avoid missing out, for the VDL Awards held on
Sunday, December 4!
I look forward to seeing you there,
Jill Edwards
VDL Awards Convener
New Members
The VDL welcomes the following new members:
Individuals
≠
Laura Bradley, Blackburn
≠
Gareth Trew, Carnegie
≠
Cameron McKenzie, Carlton
≠
Cameron South, Melbourne
≠
Robert Wightwick, Footscray West
Thanks
…to MOaRTZ Theatre Company in Moe for donation of a set of
plays to our library.
PLEASE NOTE:
The VDL accepts Credit Card payments
(Visa & Mastercard), and we also have
EFTPOS facilities
THE VICTORIAN DRAMA LEAGUE
ANNUAL GENERAL MEETING
Notice is hereby given that the 58th ANNUAL GENERAL MEETING of the members of The Victorian Drama
League Inc. will be held in the Meeting Room, 3rd Floor, Ross House, 247 Flinders Lane, Melbourne 3000, on
SATURDAY SEPTEMBER 17, 2011, at 1:00 pm (Refreshments available)
AGENDA:
1.
To receive the minutes of the 57th Annual General Meeting
held on Saturday, September 4, 2010.
2.
To receive the President’s Report for the year to June 30, 2011.
3.
To receive and consider the Treasurer’s Report for the financial
year to June 30, 2011.
4.
To elect the Committee:
i.
The President
ii.
The Vice President
iii. The Treasurer
iv. The Secretary
v.
Ordinary Committee Members
5.
To receive and consider the statement submitted in
accordance with Section 30(3) of the Act.
6.
Any other business that can legally be brought forward.
By order of the Management Committee
Geoff Kidd, Secretary, The Victorian Drama League Inc.
THEATRE COMPANIES, PLEASE SEND A
REPRESENTATIVE TO THE MEETING
Please remember that any signature as nominee, proposer or
seconder (other than Individual member) must be that of the
official representative of a Group Membership or Play Reading
Group of The Victorian Drama League Inc.
Nomination Forms must be lodged at the Offices of The Victorian
Drama League Inc. not less than 7 days before the date of the AGM.
If you would like a Nomination Form or Proxy Form please phone
the VDL and we will post them to you.
A Nomination Form is printed below.
Dear Members,
Your Victorian Drama League is facing a difficult period
in its existence. The changing economic circumstances
are forcing changes to the activities of the League.
Your League, like all voluntary organisations, relies
on the good will, time, commitment and effort
given freely by its members to operate and provide
whatever services its members require.
For too long this commitment has fallen on too few shoulders. You will
have read in recent editions of Theatrecraft that we are in need not only
of new office-bearers but of new volunteers to assist in specific areas
of the League’s work. The finances of your League will not allow the
necessary work to be paid for.
Without that assistance more and more jobs will necessarily fall on fewer
and fewer shoulders. I know many of our members are facing the same
concerns in their own organisations, but among the many people who
are members of groups and among the individual members there should
be one or two people able to assist.
The Annual General Meeting is the forum for your committee to report
to you on what your League has been doing, what it has been achieving
and what the problems are that lie ahead of it. It is the forum for you all to
discuss these problems, for you to consider how you want your League
to tackle these problems, how you are going to provide the bodies to
solve these problems and improve the services provided by your League.
Remember that individual members are members in their own right, but
group organisations are all independent individual members too. The
Victorian Drama League does not rule, direct or have any authority over
the lives and activities of its members but it works for and is the provider
of certain umbrella activities for the members.
I urge you all to attend the Annual General Meeting. If you cannot do so
please submit a Proxy Form.
With all best wishes,
Richard Burman, President
"
THE VICTORIAN DRAMA LEAGUE INC.
NOMINATION FORM For Election of Office Bearers & Committee Members
I hereby nominate for the position of ............................................................................................................................................................................................
Please print the name of the nominee .................................................................................................................................. Date
/
/2011
Signature of nominee ..........................................................................................................................................................................................................................
Proposer signature ................................................................................................................................................................................................................................
Proposer represents. .............................................................................................................................................................................................................................
Seconder signature ...............................................................................................................................................................................................................................
Seconder represents .............................................................................................................................................................................................................................
(Please indicate the name of the group or playreading group you represent, or if you are an individual member)
Nomination received by The Victorian Drama League
Verified by Secretary ..................................................................................................................................................... Date
/
/2011
reviews
Above: (l–r) Barry O'Neill, Joe Dias and Zoran Babic in Lilydale Athenaeum Theatre’s
Death of a Salesman.
Left: (l–r) Barry O’Neill and Christine Andrew in Death of a Salesman. Photos by Kevin
Trask.
DEATH OF A SALESMAN
by Arthur Miller
Lilydale Athenaeum Theatre
Directed by Kevin Trask
Reviewed by Phyll Freeman – June 12, 2011
Once, every now and again, a production comes along that ticks
all the boxes; this is one of those. Penned by Arthur Miller, the
well-known American writer, the subject of the play is timeless:
people who never admit, even to themselves, that they are
ordinary people, no more and no less, and their everlasting
impression on the following generation.
Kevin Trask, an experienced director, brought together a
wonderful cast who were an excellent example of Melbourne’s
actors. Barry O’Neill gave us a many-layered Willy Loman, the main
character, whose persona was peeled back layer by layer. A very
strong performance, matched beautifully by Christine Andrew’s
portrayal of the loving but resolute wife, Linda, who took every
slight from Willy with great equanimity. Joe Dias as Biff, the errant
son, was keenly in charge of his character, leading up to his
wonderful meltdown in Act II — another top performance. Zoran
Babic’s experience as the ‘successful’ son, Happy, also showed
the built-up illusion of being ‘a chip off the old block’. These two
characters, together with Colin Morley as Bernard, showed us
the characters’ teenage years as well. Bernard, together with his
father, Charlie, well presented by Laurie Jezard, were neighbours
and we saw the different upbringing between the three boys
which added texture to the layers and gave more depth to the
other characters. Mandy Murray was the provocative woman in
Willy’s life; Fred Barker, a figment of Willy’s tortured imagination,
appeared as Ben, Willy’s successful brother, forever urging him
onwards; Stephen Barber as Howard, Willy’s boss, and Janet
Withers as Jenny — wonderful cameos all; helped by Thomas
Barnes as Stanley, Brooke Hampton as Miss Forsythe, together
with Hope Long as Letta, these ladies added colour to the
proceedings. Last but not least was Blake Hadlow as the waiter.
As the storyline was many-layered, so was the set designed 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.
Graham McGuffie. Main bedroom downstage left, kitchen in the
middle and back door downstage right with a walkway in front
across stage. The excellent staging of the boys’ bedroom could be
seen above, slightly centre, with a staircase to access the kitchen.
Graham McGuffie’s Mood lighting enhanced these layers, and
music was subtle to underline the mounting tension. Costumes
were excellent, and I loved Charlie’s plus fours, typical 1940’s ‘golf
garb’! These were a wonderful pointer to the correct periods as
the story swung backwards and to the time of 1949, giving the
audience help in experiencing the roller-coaster ride of emotions
so painfully drawn by the characters.
I am sure Arthur Miller would have been pleased with this
production, which is a worthy contender for the VDL awards.
Thanks to all concerned for a wonderful afternoon.
WE HAPPY FEW
by Imogen Stubbs
Directed by Gayle Poor
Reviewed by Nicky McFarlane – July 3, 2011
This play, as you might guess from the title, is set in England
during World War Two. All the fit young men, including actors,
have volunteered or been conscripted into the armed forces. Two
theatrical ladies, Hetty and Flora, offer to do their bit to help the
war effort by setting up a touring group of female actors to take
Shakespeare and classics to the troops and to schools. Permission
needed from ENSA (Entertainments National Service Association)
is eventually granted and they are on their way with seven
actresses and Flora’s husband Reggie. Jewish refugees Joseph and
his mother Gertrude later join them. They tour the country with a
total of 35 plays, giving 1500 performances.
We see them rehearsing, travelling, boarding in tacky lodgings
and performing during air raids with sirens and exploding bombs
all around them, and we come to know them as individuals.
Hetty acts as the narrator, reading extracts from her letters to
(presumedly) her soldier son.
The set is familiar to every thespian; the wardrobe, racks of
hanging costumes, shelves of props, hats, helmets and shabby
pieces of furniture. The opening scene has the cast darting in and
out of the costume racks and swirling around the area to loud
wartime songs and flashing lights. Gradually we learn something
of the actors’ lives and the fun and difficulties of living out of
suitcases on tour. All is light-hearted until Act II when we learn
some of the sadder sides of their lives.
The play flows smoothly as the only set change is a curtain that
shields the wardrobe now and then. There are cameos as people
the women meet along the way appear briefly; Bruce Carter and
Andy Rhodes playing seven roles between them. Genevieve
Ryan and Margaret Rawlinson as Hetty and Flora carry the play
along and provide level heads among the daily drama of people
gradually becoming a team. Llaaneath Poor as Rosalind, who does
not get on with her mother, hits the spot well, almost an adult
but still a child at heart. As her mother Helen, the professional
actor in the group, Jane Menze is a delight. Her constant cries of
“Can someone lend me a cigarette?” and “Can someone lend me
a scotch?” echo plaintively around the stage. Melissa Karakaltsas
does a lovely job with the boyish Charlie, a delightful character.
Bianca Becker as the shy girl Ivy, who falls in love with Joseph,
and Sarah Crock as Joseph’s mother Gertrude do well. Although
outnumbered by the ladies, Luke Atchison as Joseph and Mick
Sheehan as Reggie, Flora’s husband, stand up for themselves all
the same. Glyn Wilson, I think, played Jocelyn and Maureen.
Now, I apologise if I have got any of the names wrong, but with a
cast of 15, most of whom I am not familiar with, and with beautiful
head shots of the cast but no indication of which parts they are
playing, it was not easy to work out who was who. Also as regular
visitors to the theatre probably know, there are dead spots in
the auditorium where the sound gets lost. Anyone in front of the
proscenium sounds fine, but behind it the speeches get muffled.
So I lost some of the early speeches.
Thanks to Eltham for an unusual play that reminded me of my
childhood in London.
BEAUTY AND THE BEAST
Book by Linda Woolverton
Music by Alan Menken
Lyrics by Howard Ashman & Tim Rice
Swan Hill Theatre Group
Directed by Dale Smith and Talia Henderson
Reviewed by Graeme McCoubrie – July 1, 2011
times was a little soft.
The Beast’s house servants, a self important clock, Cogsworth,
played by Riley Guerin, was highly amusing and well cast
particularly when he took Belle on a tour of the Beast’s castle,
quipping “if it’s not baroque, don’t fix it.” The elbaorately costumed
candelabra, Lumiere, was played by Adam Jacobs with a sense
of pantomime. Adam was masterful in keeping his accent,
particularly in his rendition of “Be Our Guest”. The teapot, Mrs
Potts, played by Nikki Arnott, sang strongly and was always ready
to install confidence into the Beast. Her daughter, Chip, at this
performance was played by Kate Murley, and while only having a
small vocal role, did it with aplomb.
I liked the three Silly Girls, Tammy Shields, Feathers Fellows and
Ashleigh Smith, who giggled their way through the performance
and added that touch of silliness when things got serious.
As Gaston, the role that débuted Hugh Jackman to the stage, Sean
Ahern’s dumb hunk was a strong contrast to the seriousness of the
Beast. Sean flexed his muscles well, and while his fall from a great
height in a well-choreographed end battle with the Beast was
extremely impressive, he commanded our attention whenever he
was on stage.
In the transformation from the dying Beast, we saw John Murray
emerge as the handsome Prince, winning the heart of Belle as in a
fairy tale.
Noticeable cameo roles were Belle’s father, Maurice, played by
Tony Waldron and Monsieur D’Arque, played by Graham Page.
The orchestra, while seeming to struggle a little with the Overture
and Entr’acte, certainly upped the tempo and balance with key
numbers such as “If I Can’t Love Her” and “Beauty and the Beast”.
Well done to the conductor and team.
Continued on Page 6
A timeless story that can enthrall young and old alike, and Swan
Hill has worked hard and gone afar to assemble a strong cast and
technical team to bring the story to life for their mid-year season.
Regional theatre is truly alive with this production and directors
Dale Smith and Talia Henderson are to be congratulated with the
result.
Beauty and the Beast is an enchanting magical musical, and it
is also a challenge to bring out the deeply human tale that is
predominate when the staging, costumes, special effects and
illusions, and indeed the music, are so grand. The story is well
known so I will not linger with that, as with 33 cast members
and almost as many technical and others behind the scenes, we
need to highlight individual achievements and the many team
sequences that impressed.
The directors jointly designed the well-executed and decorated
set for the moderate-size stage, with a highlight being the four
backdrop cloths that were meticulously designed and painted
over many months by Sharon Brinkman. Large as they were, they
helped bring to life the quaint provincial town that well depicted
home for the many and varied characters from the Beast to
wolves, and a doormat to napkins and plates.
A large team created some outstanding effects with costumes.
Kaye Whitlock and Phyl Braybrook designed Belle’s several
stunning dresses, while another team headed by Lynlee Smith
created a clock complete with a pendulum and a winder key,
a teapot, a vegetable grater and four large plates that spun on
the back of the actors. There were many, many more that well
complemented the characters and supported that fairy tale look.
From Swan Hill Theatre Group’s
Beauty and the Beast:
Above: Rebecca Romeo
Above right: Riley Guerin.
Right: Andrew Kelly and
Rebecca Romeo.
Photos by Sarah Rose from
Studio S Imajez.
The Beast, played by Andrew Kelly, did well with his commanding
voice and did show us that he also had a heart with a touch of
compassion. The beauty, Belle, played by Rebecca Romeo, was
sweet with a commanding presence and melodic voice, which at
Theatrecraft August 2011 — Page 5
Continued from Page 5
The production was well devised, fun, fast and well lit and SHTG
should certainly be justly proud of the outcome, which was
rightly a sell out; something that we all strive for in theatre. Once
again, thank you SHTG for your hospitality. The seriousness of the
flooding throughout the region earlier in the year did not curb
your ability to stage a first class production.
THE FARNSWORTH INVENTION
by Aaron Sorkin
Directed by Shane Ryan
Reviewed by Bruce Cochrane – July 2, 2011.
Written originally as a screenplay in 2004 that did not make it
into production, Aaron Sorkin’s historical docudrama opened
on Broadway in December 2007 with a cast of 20, and closed in
March 2008. Given the complexity of story and changeability of
the characters it’s little wonder that this play hasn’t been seen
on stage here until now. In any medium this is an epic piece and
a major undertaking which Shane Ryan and Malvern Theatre
Company deserve congratulations for deciding to take into
production.
With a cast of 18 playing upward of 65 characters, fast-moving
transitions, lengthy technical explanations and a range of issues,
the audience needed to maintain a constant state of alert. At
the opening, a video compilation of TV from present to past,
edited by cast member Jeff Saliba, made an immediate statement
about how ever-present television has been in our lives, and
was an excellent start to the programme. This was followed by
a long monologue from Stephen Shinkfield as David Sarnoff,
one of the two central characters who step out of the action to
provide ongoing narrative and commentary on the crisscross of
characters and subplots. Steve gave a powerful, totally naturalistic
interpretation of a highly ambitious and uncompromising
businessman who may also have a social conscience at times. As
Filo Farnsworth, the less commercial but scientifically-inspired
inventor, Brad Lowry provided a credible counterpart to the man
who would ultimately exploit his vulnerabilities and claim the
grand prize for his company to hold the patent to television.
Although Aaron Sorkin has admitted to historical inaccuracy for
dramatic purposes, there is inevitability about where the story is
heading, and this precludes much emotional involvement with
the key participants. There were some brilliantly staged sequences
involving large numbers of people, with imaginative grouping
and movement designed by Shane Ryan and assistant director/
cast member Sarah Jowett. In one of these, the moment that the
Farnsworth camp gathered around a cathode tube to see a picture
transmitted for the first time, the emotion was highly palpable.
Likewise the chaos and devastation caused by the market crash on
Wall St is vividly brought to life with a scene of the New York Stock
Exchange on October 29th 1929.
There were some standout performances by some fine actors who,
despite playing multiple roles, managed to create memorable
individual characters. Among these, Nick Opolski demonstrated a
wonderful capacity to quickly assume a different character with a
new set of facial expressions and mannerisms and, in particular, a
depth of understanding as business tycoon William Crocker. Keith
Hutton created a believable Russian scientist as well as an irascible
business manager, and fortunately had time between changes
to employ some visual disguises. Among others providing strong
support in various roles were Jim Thomson, Justin Royce, Kim
Ryan, Sarah Milway and Matt Reddin.
Costumes (Bronwen King) were consistently stylish when
necessary, faithful to the period, and, along with Russian army
and police uniforms, sufficiently authentic. Set design by George
Tranter drawing on art nouveau influence tended to distraction
by overstating motifs on walls and using garish colours. Lighting
design by David Earl was shadowy at times as it attempted to
catch up with moving targets, but was striking when isolating
groups around TV sets or in a bar. Bruce Parr yet again proved his
value to a production with discreet use of well-chosen music and
effects, particularly the use of Phillip Glass music to surreptitiously
build tension.
ROPE
by Patrick Hamilton
Directed by Karen Parrott
Reviewed by Ken Barnes – June 30, 2011
The opening scene in this play was nothing short of spine-chilling
as two young men on a darkened stage strangled a screaming
acquaintance and deposited his lifeless body in a wooden chest.
The same chest was later used as a buffet for a party at which
the two entertained a small group of guests, including members
of the murdered man’s family. If this wasn’t enough to get the
audience’s rapt attention, more was to come as various guests
needled and taunted their hosts, leading ultimately to a final,
equally gruesome showdown. For the Essendon performance,
Patrick Hamilton’s original 1929 work had been updated and restructured by Bruce Cochrane and Lance Reenstierna, their writing
yielding a contemporary and more impactful setting.
The director had put together an impressive cast for Rope, and
the ensemble generally performed well together. There were two
Type-A male leads; Brayden Germaine, who played the ego-driven
arrogant murderer Branden, and Michael Fenemore-Cocks in the
role of his equally assertive nemesis, Robert. Both handled their
Below: (l–r)Jeff Saliba, Justin Royce, Roger Poynder, Jim Thomson,
Brad Lowry, Matt Reddin and Steve Shinkfield in The Farnsworth
Invention. Photos by Lorraine Bell.
Above: (l–r) Steve Shinkfield, Brad Lowry in Malvern Theatre C0mpany’s
The Farnsworth Invention.
(l–r) Jaime Cerda, Michael Fenemore-Cocks, Brayden Germaine, Madeline Claire French, Andrew Gemmell, Robert Wightwick and Leigh Tangee in
Essendon Theatre Company’s Rope. Photo by Graeme Parrott
lines with precision and used energetic body movements and
gesture to good effect. Michael, in particular, invested his character
with a brooding menace which was not lost on the audience. A
slight drawback was an inclination to rush his lines with some
loss of clarity in enunciation. On the other hand, Branden was
sometimes inclined to deliver his lines into space rather than to
engage with other cast members. But these were minor blemishes
in what were powerful and believable performances.
The other cast members were softer and more comfortable to
a shell-shocked audience. The murderous accomplice, Charles,
overshadowed and dominated by Branden, was played with
believable nervousness by Robert Wightwick. Robert was on stage
for most of the play and evoked some sympathy as he gradually
disintegrated in the face of growing tension and the effects of
liquor. A somewhat older character, Mr Kentley, was played by
Andrew Gemmell, an actor not seen on stage for many years
but who fitted the bill extremely well by presenting the role in a
dignified and low-key way. I was also impressed by Jaime Cerda
as Kenneth and Madeline Claire French as Leila. The chemistry
generated by these two as they flirted was palpable, thanks to
some sinuous moves by the vampish Leila and knowing glances
from Jaime. Equally competent were two other female roles,
Leigh Tangee as the eccentric and flamboyant actress Debra, and
Rosalin Shafik-Eld as the housekeeper/cook Sasha who came fully
equipped with a melodic accent.
Because Essendon stages their plays in a community hall with a
raised stage, it was evident that careful attention had been given
to the arrangement of furniture and props so as to ensure that all
the relevant features were visible to the audience. In designing the
décor the director was assisted by Constance Bram and Catarina
Sinclair, the latter responsible for an evocative and realistic
view of Boston from the large window. The performance was
accompanied by modern music and a realistic storm, all managed
competently by John DeGabriele and Susan Stearn. The needlesharp stage management was by Cat Dwyer.
This was an absorbing play about the psychology of murder,
with just the right degree of mounting tension as the story
unfolded. There were a few blips on the radar, in particular the
closing scenes where the violent acts (notably the final murder
by Charles) were a little rushed and so lost credibility. But it was
a generally well directed and well acted piece and worthy of
Essendon’s high reputation for enjoyable theatre.
HEROES
By Gerald Sibleyras
Translated and adapted by Tom Stoppard
FAMDA
Directed by Andrew Oldroyd
Reviewed by Richard Burman – June 19, 2011
The dreams of escape of three French World War I veterans from
their retired soldiers’ home is the basis of this gentle comedy by
Gerald Sibleyras, which has been carefully adapted into English
by Tom Stoppard. The action takes place on the rear terrace of the
home where the veterans meet, talk and make their plans. We saw
the back wall of the home and the wall enclosing the grounds
and the surrounding countryside outside the wall. Outdoor chairs
and garden ornaments, together with a stone statue of a dog on a
pedestal, completed the set.
Director Andrew Oldroyd cast his play carefully, selecting three
actors who could portray the differences in the veterans distinctly.
There is very little action in the play, the humour coming from the
conversation of the men, but the director gave his actors enough
movement to prevent the production becoming too static.
The veterans come from different levels of French society. Gustave,
played by Bruce Grainger, is from solid working class. He has been
wounded in the leg and walks with the aid of a stick. Bruce chose
to play this role with a stiff leg and he kept his walking action
consistent throughout the whole play. Gustave is also, while
disabled physically, the most mentally on the ball of the three,
and Bruce conveyed the disbelief and amazement experienced by
Gustave at the plans of his companions clearly.
Max Hastings was cast as Phillipe, the veteran who has a piece
of shrapnel embedded in his skull, the pressure of which causes
him to faint at intervals. Here again was a performance which
conveyed all Phillipe’s fears, rational and irrational, clearly to
the audience. The performance was spoilt just a little for me by
exaggerated arm and body movements when the moments of
unconsciousness came upon the character.
Murray Maclean completed the cast. He was Henri, the aristocrat,
who, as a result of his experiences in the war, has developed
a phobia about meeting people. Murray presented Henri as a
man who was still the officer in the way he related to the other
veterans. The character presented here seemed a little younger
than his companions and was a little more aggressive, always the
officer, than defensive about his disability. Again, in the one scene
Continued on Page 8
where his phobia takes hold I felt the arm movements and hand
gestures were a little too exaggerated.
The music for this production was composed by Rob Ellis and set
the play neatly. The set worried me just a little as the gate in the
wall at the back through which the countryside could be seen,
appeared to be the gate to outside the grounds of the home.
However, from the dialogue, Henri, after passing through the gate,
was clearly prevented from leaving the grounds by one of the
nuns running the home.
Lighting design and execution deftly showed the changing
seasons.
Two minor points should be noted; there were some minor lapses
in the dialogue, and it appeared that the statue of the dog, which
has a lovely move at the end of the play, had not been reset
correctly on its pedestal for the beginning of the performance.
As usual at Foster, a very warm welcome was extended to the
audience members as they arrived and at the interval from the
front of house staff.
Season 3
TALKING HEADS:
Bed among the Lentils, Miss
Fozzard Finds Her Feet,
& Her Big Chance
(l–r) Bruce Grainger, Max Hastings and Murray Maclean in FAMDA’s
Heroes. Photo by Yianni Banikos.
*GUIFJEFBPGIBWJOHJOGPSNBUJPO
BCPVUZPVSDPNQBOZȁTQSPEVDUJPOT
BOE TFSWJDFT QSPNPUFE BDSPTT
7JDUPSJB
"VTUSBMJB
by Alan Bennett
Director: Helen Ellis
August 11 –
September 10 2011
Season 4
THE RETURN
by Reg Cribb
BOE FWFO 8BMFT
TPVOET
Director: Dexter Bourke
September 29 – October 22
BUUSBDUJWFUPZPVUIFOXIZBSFOȁU
Wanted: Actors, technicians, crew, handypeople, costumers.
ZPVBEWFSUJTJOHJO5IFBUSFDSBGU
theatrecraft
4FFPVSBEWFSUJTJOHSBUFTPO1BHF
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.
Bookings & Enquiries: 9758 3964
Dandenong Theatre Company
2011
V
with permission of HLA Management proudly presents
DL A
ward
Entry
Speaking In Tongues
By Andrew Bovell
Directed by Colin Morley
Featuring Matt Caton, Kym Davies, Joe Dias and Sian Ellet
From the same team that produced 2010’s critically acclaimed and award winning
The Laramie Project
9771- 6666
26 August- 4 September
dandenongtheatre.org.au
@The Castle
61A Princess Hwy
Dandenong
Mention ‘Theatrecraft’ when booking and get all tickets for a concession price!
J;9>9EHD;H
This month: Set design tips
WINDOWS CAN BE A FEATURE
Consider also using a bay window on the set. The bay window can
be use in a number of ways, just a window, with a window seat
and on a platform.
This image is a set by Lynn Pecktal for The Mousetrap by Agatha
Christie in 1958. The window is the main feature of the set and
indicates the style of property the action is taking place in.
Consider the style of windows that may be used in the set.
Above are a number of simple styles that could be used. Many
of them are very easy to make, yet will help the define the era in
which your production is set. While the kind of window selected
depends on the historical period and the playwright’s setting as
well as the room it is set, its tends to be the designer’s imagination
and the way he/she works out the visual statement.
ADVERTISING RATE
CHANGE
The first shape in each box is the window ground plan. This
layout will give a set some extra definition. The second is the
same window with a window seat, which is extremely useful for
a director to use as an extra area that actors work. The third is on
a platform, enabling the bay window with a seat to be put at the
back part of the stage and the area to be used as an actor’s talking
spot while seated and still be seen.
Track Youth Theatre
The prices for advertising and inserts are rising from the September
issue. Regular (quarter or year) buyers will keep paying the old price
until their contract is finished.
The prices from September (cost per month per insertion) will be:
Casual
3 months
1/8 page 65 mm deep by 90 mm wide
members
$29.00
$26.00
non members $43.00
$40.00
members
$36.00
$34.00
non members $54.00
$50.00
members
$66.00
$60.00
non members $98.00
$90.00
Full page 265 mm deep by 180 mm wide
members
$120.00
non members $180.00
6 months
Year (11
issues)
$25.00
$38.00
$24.00
$36.00
$32.00
$48.00
$31.00
$47.00
$58.00
$86.00
$55.00
$83.00
FLYER INSERTS
members
non members
paper (per single
sheet)
$55.00
$80.00
cardboard or thick
paper single sheet
$60.00
$85.00
Sleeping
Beauty
2011 VDL AWARDS ENTRIES
Entries approved as of July 22
(D) Drama, (C) Comedy
Brighton Theatre Company
THE SHOE-HORN SONATA (D)
by John Misto
Director: Deborah Fabbro
February 24–March 12
MOaRTZ
A BAD YEAR FOR TOMATOES (C)
by John Patrick
Director: Annette O’Shea
May 27–June 4
Sherbrooke Theatre Company
WAIT UNTIL DARK (D)
by Frederick Knott
Director: Malcolm Sussman
July 22–August 6
The 1812 Theatre
VISITING MR GREEN (D)
by Jeff Baron
Director: Malcolm Sussman
March 3–April 2
Lilydale Athenaeum Theatre Company
DEATH OF A SALESMAN (D)
by Arthur Miller
Director: Kevin Trask
May 31–June 18
Wangaratta Players
FACE TO FACE (D)
by David Williamson
Director: Lorraine Monshing OAM
August 12–20
The Mount Players
THE WOMAN IN BLACK (D)
by Stephen Mallatratt (adapted from the
book by Susan Hill)
Director: Frank Harvey
March 11–April 2
Werribee Theatre Company
ÀLLO ÀLLO (C)
by Jeremy Lloyd and David Croft
Director: Alaine Beek
June 3–11
Gemco Players Community Theatre
COSI (C)
by Louis Nowra
Director: Sharon Maine
August 19–September 4
Foster Amateur Music & Drama
Association (FAMDA)
HEROES (C)
by George Sibleyras; adapted by Tom
Stoppard
Director: Andrew Oldroyd
June 17–25
Dandenong Theatre Company
SPEAKING IN TONGUES (D)
by Andrew Bovell
Director: Colin Morley
LIVING TOGETHER (C)
by Alan Ayckbourn
Director: Teresa Maurici-Ryan
March 24–April 2
Frankston Theatre Group
TWELVE ANGRY MEN (D)
by Reginald Rose; adapted by Sherman
Segal)
Director: Dave Wearne
April 14–17
WE HAPPY FEW (D)
by Imogen Stubbs
Director: Gayle Poor
June 23–July 9
Williamstown Little Theatre
NOT ABOUT HEROES (D)
by Stephen MacDonald
Director: Shane Ryan
April 28–May 15
Geelong Repertory Theatre
DR JEYKLL AND MR HYDE (D)
by Jeffery Hatcher
Director: Travis Eccles
June 24–July 9
Southern Peninsula Players
DEATHTRAP (D)
by Ira Levin
Director: Kylie Knoble
May 5–15
THE FARNSWORTH INVENTION (D)
by Aaron Sorkin
Director: Shane Ryan
June 24–July 9
The Basin Theatre Group
NATURAL CAUSES (C)
by Eric Chappell
Director: Drucilla Bartlett
May 12–June 5
Heidelberg Theatre Company
THE HISTORY BOYS (C)
by Alan Bennett
Director: Bruce Akers
July 7–23
Sunshine Community Theatre
SECRET BRIDESMAIDS’ BUSINESS (C)
by Elizabeth Coleman
Directed by Rachel Holt
May 13–21
Beaumaris Theatre
THE IMPORTANCE OF BEING EARNEST (C)
by Oscar Wilde
Director: Emma Sproule
July 8–23
Strathmore Theatre Arts Group
HYSTERIA (D)
by Terry Johnson
Director: Alex Lance
May 26–June 4
Encore Theatre
LIFE AFTER GEORGE (D))
by Hannie Rayson
Directed by Doug Bennett
July 15–30
Purely Pensive Productions
AWAY (D)
by Michael Gow
Director: Luke Morrison
September 15–17
Hartwell Players
THE VOYSEY INHERITANCE (D)
by Harley Granville-Barker
Director: Bruce Cochrane
September 16–October 1
Moreland Theatre Company
PYGMALION (D)
by George Bernard Shaw
Director: Karim Shaker
Kyneton Theatre Company
SWEET ROAD (D)
by Debra Oswald
Director: Bronwyn Neill
October 21–29
AWARDS
ENTRY
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
July 22–August 6
Evenings: 8:15 pm
Matinées: July 24 & 31, 5:15 pm
SHERBROOKE
THEATRE COMPANY
WAIT UNTIL DARK by Frederick Knott
AWARDS
ENTRY
Directed by Malcolm Sussman
Doncaster Playhouse, 679 Doncaster Rd, Doncaster (Melway: 47 E1)
1300 650 209
July 29–August 7
Evenings: 8:00 pm
Matinées: July 31 & August 7,
2:00 pm
August 4–28
Evenings: 8:15 pm
Matinées: Sundays, 2:15 pm
MORNINGTON CEF
PLAYERS
MY THREE ANGELS by Sam and Bella Spewack
Directed by Myles Sharpe
St Peter’s Bellamy Hall, cnr Albert & Octavia Sts, Mornington
(Melways: 104 D11)
THE LION IN WINTER by James Goldman
Directed by Graham Fly
Cnr Doongalla & Simpson Rds, The Basin (Melway: 66 A6)
5977 0347
August 5–7
August 5 & 6: 8:00 pm
August 7: 3:00 pm & 7:00 pm
KEW COURT HOUSE
ARTS ASSOCIATION
August 5–12
Evenings: 8:00 pm
Matinée: August 7, 3:00 pm
SUNSHINE
THE IMPORTANCE OF BEING EARNEST by Oscar Wilde
COMMUNITY THEATRE Directed by Lee Cook
Dempster Park Hall, 82 Phoenix St, Sunshine North
August 9–13
Evenings: 8:00 pm
KEW COURT HOUSE
ARTS ASSOCIATION
A NIGHT WITH NOEL COWARD (AND TIM MCKEW) by Tim McKew
Directed by Tim McKew
Kew Court House Performing Arts Centre, 188 High St, Kew
Evenings: 8:00 pm
Matinée: 4:00 pm
THE 1812 THEATRE
TALKING HEADS by Alan Bennett
Directed by Helen Ellis
3–5 Rose St, Upper Ferntree Gully (Melways: 74 F6)
August 12–20
WANGARATTA
PLAYERS
FACE TO FACE by David Williamson
Directed by Lorraine Monshing OAM
Stage Door Studio, Evans St, Wangaratta
THE BASIN THEATRE
GROUP
THE MYSTERIOUS ADVENTURES OF ANATOLE DE LATOUR by
Clayton D. Sinclair
www.
thebasintheatre.
org.au or ph.
1300 784 668 (7:00
pm–9:00 pm)
9853 3551
sunshinecommunity
theatre@hotmail.
com
or ph. 0407 802 165
9853 3551
9758 3964
AWARDS
ENTRY
wangaratta_
players_inc@
hotmail.com
August 12–27
PERIDOT THEATRE
Evenings: 8:15 pm
Matinées: August 14 & 20, 2:15 pm
THE GLASS MENAGERIE by Tennessee Williams
Directed by Vicki Smith
Unicorn Theatre, Lechte Rd, Mt. Waverley (Melway: 61 F11)
1300 138 645 (toll
free for landlines)
or 9898 9090
August 18–20
Evenings: 8:00 pm
KEW COURT HOUSE
ARTS ASSOCIATION
COX AND BOX by Gilbert & Sullivan
Directed by Savoy Opera Company
9853 3551
August 18–27
Evenings: 8:00 pm
Matinées: August 21, 2:00 pm
STRATHMORE
KIDNAP GAME by Tudor Gates
THEATRE ARTS GROUP Directed by Cameron South
Cnr Loeman and Napier Sts, Strathmore (Melway: 16 G10)
9379 5348 or www.
stagtheatre.org/
reservations
Evenings: 8:00 pm
BRIGHTON THEATRE
COMPANY
BLITHE SPIRIT by Noel Coward
Directed by John Keogh
Brighton Arts and Cultural Centre, Wilson St, Brighton
1300 752 126
August 19 & 20
Evenings: 7:30
Tickets at door
Evenings: 8:00 pm
Matinées: August 21 & 28 &
September 4, 5:00 pm
August 23–27
Evenings: 8:00 pm
Matinées: August 26 & 27,
2:30 pm
TRACK YOUTH
THEATRE
SLEEPING BEAUTY by Ed Bailey
trackyouth@gmail.
com
Directed by Ed Bailey
Renaissance Theatre, High St East Kew (near Burke Rd) (Melway: 45 K3)
GEMCO PLAYERS
COSI by Louis Nowra
AWARDS
COMMUNITY THEATRE Directed by Sharon Maine
ENTRY
The Gem, 19 Kilvington Drive, Emerald (Melway: 127 E5)
MELBOURNE FRENCH
THEATRE
ABSENT FRIENDS (Mariages & Conséquences) entirely in French
www.mftinc.org or
with English surtitles by Sir Alan Ayckbourn
9349 2250
Directed by Matthew O’sullivan
Collingwood College, cnr Cromwell St & McCutcheon Way, (entry from
Cromwell St), Collingwood (off Gipps St) (Melway: 2C G12)
Mention under WHAT’S ON and AUDITIONS is for VDL Member Groups only
www.
gemcoplayers.org,
or 0450 667 034
after 7:00 pm
what’s on
SEASON
GROUP
PRODUCTION
BOOKINGS
August 23–28
Evenings: 8:00 pm
August 28: 7:00 pm
Matinées: August 27 & 28, 3:00 pm
Evenings: 8.00 pm
Matinée: September 4, 2:00 pm
KEW COURT HOUSE
ARTS ASSOCIATION
A LITTLE NIGHT MAGIC by Elio Simonetti & Eva Salleh
Directed by Elio Simonetti
9853 3551
ELTHAM LITTLE
THEATRE
PRIVATE LIVES by Noel Coward
Directed by Susan Rundle
Performing Arts Centre, 1602 Main Rd, Research (Melway: 22 H1)
9437 1574
Evenings: 8:00 pm
Matinees: August 28 &
Evenings: 8:15 pm
Matinees: August 27 &
Evenings: 8:00 pm
Matinées: September 4 & 11,
2:00 pm
DANDENONG
THEATRE COMPANY
SPEAKING IN TONGUES by Andrew Bovell
AWARDS
ENTRY
Director: Colin Morley
The Castle, Hemmings Park, 61A Princes Hwy, Dandenong
(Melways: 90 C5)
LOVE LETTERS and LATER LIFE by A. R. Gurney
Directed by Horrie Leek
29 Burke Rd, Malvern East
9771 6666
GOD OF CARNAGE by Yasmina Reza; translated from French by
Christopher Hampton
Directed by Natasha Boyd
56 Smith St, Macedon
1300 463 224
(Tuesday–
Saturday) or www.
themountplayers.
com/
9735 1777
MALVERN THEATRE
COMPANY
THE MOUNT PLAYERS
Evenings: 8:30 pm
LILYDALE
THEY’RE PLAYING OUR SONG by Neil Simon; lyrics by Carole Bayer
ATHENAEUM THEATRE Sager; music by Marvin Hamlisch
COMPANY
Directed by Alan Burrows
29–41 Castella St, Lilydale
ESSENDON THEATRE BLACKROCK by Nick Enright
September 8–17
COMPANY
Evenings: 8:00 pm
Directed by Rachael Holt
Matinée: September 11, 2:00 pm
Bradshaw Street Community Hall, 9 Bradshaw St (off Buckley St),
Essendon West (Melway: 28 B3)
BEAUMARIS THEATRE TELL ME THAT YOU LOVE ME, JUNIE MOON by Marjorie Kellogg &
September 9–24
D.D. Brooke
Evenings: 8:00 pm
Directed by Lyn Laister
82 Wells Rd, Beaumaris (Melway: 86 G6)
September 15–17
PURELY PENSIVE
AWAY by Michael Gow
AWARDS
PRODUCTIONS
ENTRY
Evenings: 8:00 pm
Directed by Luke Morrison
Matinée: September 17, 2:00
Mechanics Institute Performing Arts Centre, Cnr Sydney and Glenlyon
pm
Rds, Brunswick
HEIDELBERG THEATRE THE 39 STEPS by John Buchan (adapted by Patrick Barlow)
COMPANY
Evenings: 8:00 pm
Directed by Justin Stephens
36 Turnham Ave, Rosanna (Melway: 32 A1)
Evenings: TBA
Matinées: TBA
HARTWELL PLAYERS
Evenings: TBA
Matinées: TBA
MORELAND THEATRE
COMPANY
Evenings: 8:00 pm
Matinées: September 25 &
October 2, 2:00 pm
CLOC MUSICAL
THEATRE
1300 131 552
9330 4808 or
essendontheatre
company@gmail.
com
9583 6896
www.
purelypensive.
com.au
www.htc.org.au or
9457 4117
THE VOYSEY INHERITANCE by Harley Granville-Barker
AWARDS
Directed by Bruce Cochrane
ENTRY
Ashwood College PAC, Vannam Dr, Ashwood
(off High Street Rd) (Melway: 60 J10)
PYGMALION by George Bernard Shaw
AWARDS
ENTRY
Directed by Karim Shaker
ASPECTS OF LOVE by Andrew Lloyd Webber
1300 362 547
Directed by Shaun Kingma
Musical Director: Andrew Houston
Choreographed Movement: Tamara Finch
The National Theatre, Cnr Barkly & Carlisle Sts, St Kilda (Melway: 58 B10)
Mention under WHAT’S ON and AUDITIONS is for VDL Member Groups only
auditions
SEASON
AUDITIONS
November 10–26
AUGUST 7, 7:00 PM
PRODUCTION
ENQUIRIES
Brighton Theatre Company
KIMBERLY AKIMBO by David Lindsay-Abaire
AUGUST 8, 7:30 PM
Director: Vicki Smith
2M (1 × late teens, 1 × 30s–40s), 3F (2 × 30s, 1 × 60s)
Brighton Theatre Company, cnr Wilson and Carpenter Sts, Brighton
October 21–November 12 AUGUST 11, 8:00 PM
Warrandyte Theatre Company
AUGUST 14, 2:00 PM ALMOST, MAINE by Robert Cariani
Director: TBA
Various M & F roles (20s–40s)
Warrandyte Mechanics Hall, Yarra St, Warrandyte
TBA
AUGUST 14, 7:30 PM
MUSIC HALL: THE PERILS OF PURITY PIMBLE by Joan Dalgleish
Directors: Kellie and Ian Tweeddale
Performing Arts Centre, 1602 Main Rd, Research
TBA
AUGUST 14, 2:00 PM Encore Theatre
THE CEMETERY CLUB by Ivan Menchell
AUGUST 15, 7:30 PM
Director: Deborah Fabbro
1M (60s), 4F (late 50s–60s)
Fleigner Hall, Highland Ave, Clayton North (Melway: 70 B8)
November 3– 12
AUGUST 14, 1:00 PM
Sunshine Community Theatre
THE TANK by Steve Thomas; music and lyrics by Mick Thomas
AUGUST 16, 7:30 PM
Director: Craig Ryan
3M (1 × 30s, 2 × 50s), 1F (50s)
Dempster Park Hall, 82 Phoenix St, Sunshine North
TBA
AUGUST 21, 7:00 PM
The 1812 Theatre
ROUND AND ROUND THE GARDEN by Alan Ayckbourn
Director: Chris Procter
3M (30s–50s), 3F (30s–50s)
The 1812 Theatre, 3 Rose St, Upper Ferntree Gully
November 4–19
AUGUST 21, 1:00 PM
Peridot Theatre
CARAVAN by Donald Macdonald
Director: Bob Bramble
3M (40s), 3 F (1 × 20s, 2 × 40s)
Unicorn Theatre, Mount Waverley Secondary College, Lecht Rd, Mount
Waverley (Melway: 61 F11)
TBA
SEPTEMBER 11, 2:00 PM Williamstown Little Theatre
SEPTEMBER 12, 7:30 PM PLAY IT AGAIN, SAM by Woody Allen
Director: Gaetano Santo
3M (2 x 20s. 1 x 30s), 4–8 F (20s)
Williamstown Little Theatre, 2–4 Albert St, Williamstown
0419 329 052
9844 1436
0418 118 241
0416 141 838 or
orbbaf@ozemail.
com.au
0425 826 339 or
craig@bradrod.
com.au
0407 543 081 or
9754 3081
0418 586 273 or
bobbramble2002@
yahoo.com.au
0419 529 208
Copies of most of the above plays are available to hire to VDL members.
Please note: some plays may not be available during the week leading up to audition.
WHAT’S ON and AUDITIONS submissions must be made through our website for inclusion in Theatrecraft.
kew court house
A New Performance Space
now available
•
•
•
•
An intimate style
70 seat flexible space
Excellent Audio/Lighting
Dates available now to December 2012
Call or email Kew Court House Arts Association
[email protected]
www.kewcourthousearts.com.au
Tel: 03 9853 3551
DONATING TO THE VDL
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.
Remember — donations are tax-deductible.
one act festivals
SEASON
EVENT
FESTIVAL INFORMATION
ENTRY & CONTACT DETAILS
August 6–7
ARARAT ONE ACT PLAY
FESTIVAL
Venue: Ararat Performing Arts Centre,
Barkly St, Ararat
Adjudicator: Ken James
Closing date: June 17
August 13–14
SOUTH GIPPSLAND ONE ACT
PLAY FESTIVAL
Venue: Foster War Memorial Arts Centre,
Main St, Foster
Adjudicator: Malcolm Sussman
Contact: Rod McKenzie
Telephone: 03 5352 2181
Email: [email protected]
Website: www.ararat.vic.gov.au
Contact: Bruce Crowl, 03 5682 2185
Entries to: P. O. Box 186, Foster VIC 3960
Hosted by FAMDA
August 20–21
HER MAJESTY’S THEATRE/
Venue: Her Majesty’s Theatre, 17 Lydiard
ROYAL SOUTH STREET ONE ACT Street South, Ballarat
PLAY FESTIVAL
Adjudicator: Margaret Cockram
August 27–28
ANGLESEA 22ND ONE ACT PLAY
FESTIVAL
September 2
KYNETON YOUTH ONE ACT
PLAY FESTIVAL
September 3–4
KYNETON’S 55TH FESTIVAL OF
ONE ACT PLAYS 2011
September
23–25
MONASH ONE ACT PLAY
FESTIVAL
Hosted by Peridot Theatre
October 7–8
DELORAINE FESTIVAL OF ONE
ACT PLAYS
Website: http://www.royalsouthstreet.com.
au/
Venue: Anglesea Hall, McMillan St,
Anglesea
Adjudicator: Judy Elliss
Contact: Nikki Watson
Entries to: Anglesea Performing Arts Inc,
c/o Post Office, Anglesea VIC 3230
Website: www.angleseaperformers.org.au/
Venue: Bluestone Theatre, Hutton St,
Contact: Ingrid Gang
Kyneton
Entries to: Kyneton Daffodil & Arts Festival
Adjudicator: Val Victor-Gordon
Inc One Act Plays, PO Box 59, Kyneton VIC
3444
Closing date: August 12
Telephone: 0410 050 915
Venue: Bluestone Theatre, Hutton St,
Contact: Ingrid Gang
Kyneton
Entries to: Kyneton Daffodil & Arts Festival
Adjudicator: Maggie Millar
Inc One Act Plays, PO Box 59, Kyneton VIC
3444
Closing date: August 12
Telephone: 0410 050 915
Venue: Peridot Theatre, Mt Waverley
Contact: Robyn Kelly 03 9898 9090 (phone
Secondary College, Lechte Rd, Mt Waverley & fax)
(Melway: 61 F11)
Mobile: 0438 724 664
Adjudicator: John Bishop
Entries to: Peridot Theatre, P. O. Box 1026,
Box Hill VIC 3128
Venue: Deloraine Little Theatre, Deloraine Contact: Julius Kearon
Entries to: 25 Meander Valley Rd, Deloraine
TAS 7304
Telephone: 03 63623045
The Mount Players One Act Play Festival 2011 — Results
Excellent washing machine
Best Male Support
Louise Phelan, Soap Opera, Warrandyte Theatre Company
Ken Virtue as Hugh in Decline & Hall, Warrandyte Theatre Company
Set Dressing
Best Female Support
Der Kriminalkommisar, Peridot Theatre
Light & Sound Plot
Naomi Oosting as Savana in Decline & Hall, Warrandyte Theatre
Company
Gub, The Mount Players
Best Male Lead
Choreography
Kerry Turpie, Flesh & Bone, Mount Players Youth Theatre
John Neill as Jesse in Jellybeans & Anchovies, Kyneton Theatre
Company
Costumes
Best Female Lead
Rhinoceros Hides, Kyneton Theatre Company
Excellent Characterisation
Rosalee Neill as Billy in Jellybeans & Anchovies, Kyneton Theatre
Company
David Creedon, Soap Opera, Warrandyte Theatre Company
Best Director
Most Promising Performer
Kerry Turpie, Flesh & Bones, Mount Players Youth Theatre
Alexandra McLaren, Untimely Ripp’d, Ballarat National Theatre
Company
Runner-up Production
Youth Encouragement Award
Best Production
Gemma Elliott, Flesh & Bone, Mount Players Youth Theatre
Jellybeans & Anchovies, Kyneton Theatre Company
Flesh & Bone, Mount Players Youth Theatre
Adjudicator’s Special Award
Excellent Ensemble, Flesh & Bone, Mount Players Youth Theatre
reviews
(l–r) Eric Heyes, Rowan Humphrey, and Martin Gibbs in Mordialloc Theatre Company’s Heroes. Photo by David Ellis.
descent, carved out of stone. Philippe is convinced he moves and
wants to take him with them on their journey.
by Gerald Sibleyras
Martin Gibbs is also listed as set designer. Upstage is a curved
Mordialloc Theatre Company
stone wall and benches, this indicating the courtyard they
Directed by David McCall
consider their private space. Blue sky and puffy white clouds are
Reviewed by Nicky McFarlane – July 10, 2011
on the backdrop. Gordon Boyd designed the lighting, the director
The play’s full name translates as “The Wind in the Poplars”, and
designed the sound, panelled by Tim Long, and Judy Corderoy
the poplars feature in this story set in 1959 in France, about three
was the Production Coordinator and FOH Manager.
veterans of World War One who live in a retirement home run
Mordialloc were performing in a different venue while their own
by Sister Madeleine. We never meet her, but the men, Henri,
theatre is having attention, but the production was as professional
Gustave and Philippe, see her as a dragon, and for various reasons
as usual, on a very wet day. Thank you for a most enjoyable
they have decided to run away. Philippe would like to go to
afternoon.
Laos, but regretfully the others decide that is too difficult, and
they settle for a hike to the poplars on the horizon. The story
details the preparations they make, the difficulties they will meet
(for instance, two rivers to cross and nobody can swim), the
Peridot Theatre
arguments and clashes of personality and finally the way they
Reviewed by Bruce Cochrane – June 18, 2011
support each other.
HEROES
JUNE SEASON OF ONE ACT PLAYS
Henri, played by Eric Heyes, is the sensible, level-headed one, the
only clear thinker. Gustave, played by Rowan Humphrey, thinks
he knows everything, constantly argues with Henri and comes up
with ever more crazy ideas. Philippe, played by Martin Gibbs, does
not say much and is handicapped by fainting frequently because
of shrapnel still in his skull.
The text, translated wittily and elegantly by Tom Stoppard, is very
funny indeed and the actors make the most of it. Their timing is
spot on, one can hear every word and the energy level is high, it
is an ensemble performance of excellence. One of the funniest
scenes has the heroes roping themselves up as if scaling Everest
with a length of fire hose. This is made more complicated as the
force of Philippe’s frequent falls goes down the line to the other
two. Philippe’s faints also add to the laughs as he falls in ever
different ways; off chairs, under benches, flat on his back, flat on
his face, or with legs buckling under him. Gustave, a tall younger
man, makes his presence felt just by being there, usually in a large
hat or cap, and delivers his extraordinary plans with great aplomb.
Henri is handicapped with a gammy leg and a stick. I must
mention the fourth member of the party, a large dog of dubious
Der Kriminalkommisar
By Michael McLean
Directed by Edna Bartlett
The philosophy behind Peridot’s annual one act season is that
it offers an opportunity for writers, directors and actors to show
what they can do in the presentation of new work. Very often
programmes of new works can mean underdeveloped material
with uneven production values. Not in this case. Michael McLean’s
play set in wartime Germany presents a serious and tense
situation, which despite some very Australian accents gives a
feeling of being authentic and well documented.
The dialogue is spare and credible and the acting generally gave
it the sense of urgency required of a family threatened with
incarceration in a concentration camp. As Dr Lindner, wife and
mother, Penny Peck was a model of controlled anxiety, every word
and facial expression understated yet alert to anything that might
jeopardise the safety of her family. Chris Hodson, as her husband
Professor Lindner, was considerably more agitated with distressed
facial reactions and vocal tone.
With the appearance of the Criminal Kommissar the tension
develops appreciably, due in no small part to Neil Barnett’s
command of the character and the situation. Neither a stereotype
nor a cardboard cut-out, his Kommissar exuded threat in a
convincing performance and no doubt the guiding hand of
Director Edna Bartlett ensured that the actors did not veer into
melodrama.
Making up the cast were Harley Beechey as Alex, the young
son of the Lindner’s, who demonstrated an ability to play in
the moment, and Brett Currie, who was suitably stern as SS
Officer Inspector Beckmann. Michael McLean’s writing kept his
characters’ conversation short before hitting the audience with a
denouement that was completely unexpected and very satisfying.
It’s All In The Timing
By Alison Campbell Rate
Directed by Denise Wellington
As a contrast, the second play was all about fun for the characters
in the play and for the audience. With well thought out character
development and some sparkling dialogue, Alison Campbell
Rate showed that she is capable of writing a genuinely funny yet
sophisticated comedy. The situation, a theatre dressing room,
is not a new one but Alison approached it confidently with
some very smart quips and ripostes from actresses Sal (Bronwyn
Cameron) and Jane (Janis Schneider). The women were required
to really ‘ham it up’ with faux accents and overblown histrionics,
and both Janis and Bronwyn made the most of their opportunities
in bitching about the female lead Louise who is late for rehearsal
much to the delight of Sal and Jane. Enter Louise (Bec Gooley)
head in the air in a body hugging blazing crimson dress. Faced
with a barrage of barbed comments and questions, Bec looked
and sounded the part, giving as good as she got from the other
two, and using all the appropriate theatrical gestures and body
language. In between times, the terrible two are having a snicker
at the expense of Stage Manager Terry (Peter Kostopoulos), as
well as Louise’s husband Phillip (Aaron McDonald.) Peter struck a
very nice note with just enough bemusement and bewilderment
to convey the sense of helplessness he felt with this group of
actresses, while Aaron effectively played the harried husband who
can’t seem to do anything right, until the intervention of Sal and
Jane.
Denise Wellington’s direction showed style with excellent pace, as
well as allowing natural but interesting movement by her cast. Set
design by Steve Karandais was functional and also imaginative,
and Simon Ulrich added some well-chosen tunes to the audio
track.
Many more people contributed to both plays adding to a
creditable programme by Peridot Theatre.
DR. JEKYLL & MR. HYDE
Adapted by Jeffrey Hatcher
Geelong Repertory Theatre Company
Directed by Travis Eccles
Reviewed by Ewen Crockett – July 9, 2011
I think people living in Geelong are a hardier breed than those of
us living on the other side of the bay. However, it is worth braving
any kind of weather to see a show presented by Geelong Rep, and
this one was no exception. Geelong presented a well rounded
production of this classic, using moody but never dim lighting and
a terrific sound plot, both designed by Rob Hoskins, to enhance
the progression of the story.
The set was seemingly simple, but technically difficult, with a
revolve built into the stage turning to reveal various locations,
each of which had to be struck and reset as required between
scenes. With a backstage crew of six working frantically to
maintain the pace and be ready for the next change, it was
inevitable that some noise from backstage would be evident.
There was a lot of noise. It might have been better to slow the
breakneck pace a little to allow a bit more care. A mobile door
used to denote entrances and exits was designed to break apart
under the impact of shoulders and to be reassembled quickly and
discreetly. Whilst being a piece of engineering genius, it did look
contrived… but I don’t know what else could have been done
given the short time span between uses.
Director Travis Eccles assembled a large cast of 11 actors with
varying degrees of ability.
Steven Georgiadis, as Dr. Henry Jekyll, gave a well thought-out
performance, particularly in the slow development of the struggle
with Hyde and the final, inevitable takeover. Andrew Kelly gave
a beautifully nasty characterisation to Edward Hyde, with some
really excellent soft spots here and there. I was a little off-put by
the heavy breathing which I thought was over the top, but that
should have been corrected by the director.
(l–r) Steven Georgiadis and Andrew Kelly in Geelong Repertory Theatre
Company’s Dr. Jekyll & Mr. Hyde. Photo by Bryan Eaton.
Lachlan Murphy was excellent in the four roles he played. Each
character was different with no carry-over gestures or body
language from role to role, very well done. Lauren O’Callaghan, as
Elizabeth Jelkes, was the standout actor/actress, her performance
was believable and empathetic (she made me understand why
Elizabeth could love Hyde), with excellent body language and
use of timing and silences. She registered every emotion possible
and did it without pulling faces. I loathe face-pulling, audiencemugging actors; you must know who you are — I do.
The remaining members of the cast performed as an ensemble,
playing multiple roles, and mostly got it right. I thought that each
of the various Hydes should have had a bit more similarity in their
portrayals to Andrew’s performance as the main character. Each
did it in their own way and I found that confusing, so did some
audience members around me.
Wardrobe and costuming was appropriate and competent except
for the shoes, no rubber soles back then. Properties were
excellent, particularly the laboratory bench with its pickled snakes
and rats, skulls, fluorescing tincture vials and furiously bubbling
beakers and jars. What fun Gary Crameri and Anne Powell must
have had with that. There were some problems I saw, for instance
a gentleman would never drink brandy from a whisky tumbler and
British pound notes were big white ones back at that time.
There is no mention of a choreographer so I assume the director
did it, and if this is the case, then well done, it was fluid, tight and
descriptive.
Continued on Page 18
Director Travis Eccles obviously put a lot of time into this
production and this was evident in what was overall a fine
production. Two things let it down. Firstly, there appeared to me
to be disciplinary problems with some of the ensemble; tighter
control needed there. Secondly, never let your actors begin a
scene before the scene is set; discipline again.
Thanks to all involved, I enjoyed the evening, as did the audience.
MURDER & MIRTH
A Season of One Act Plays
Hartwell Players
Reviewed by Graeme McCoubrie – July 9, 2011
With the acceptance of reviews of One Act Play seasons for
Theatrecraft, it is good to be able to savour the variety that is
possible by theatre companies, particularly of locally written plays.
Hartwell Players’ latest season included a youth play and three
other works that called for an assembly of some 20 cast.
While commenting on each play separately, there were little
things that were universally noticeable and annoying such as
starting late, some strange lighting cues and a continual dark area
centre stage shading faces. Some team people also caused some
distraction, moving around through the seating during a play, and
for some reason the audience were asked to leave the auditorium
during interval, while they set the next play. Why?
Committed
Written by Alison Knight
Directed by Ann Marie O’Neil
A group of parents’ committee members helped the new vice
principal plan and stage the end of year school spectacular. With a
strong older cast we went through the planning stages, the
rehearsals and the end result, which was virtually washed out by a
thunderstorm. All the good, bad and ugly work over the past
months dissipated. There were quite a few scenes in this one act
play that ended in mayhem, with confusion, bad blood letting and
frustrations coming to the fore.
Running Battle
Written by Phyll Freeman (2001)
Directed by Laura Bradley
Written for student consumption, the younger members of
Hartwell played this out well. The Dingle parents were entering a
charity marathon and the Dingle siblings were horrified that their
old (40 years) parents were entering as a three legged team. They
tried to dissuade their parents, as it would be an embarrassment
to the family. Mother (Aynslie Watson) and Father (Marcus Ingleby)
were well cast, while Paula (Grace Kiely) and Paul (Alex O’Neill)
stood out amongst the many siblings.
The parents endured a clumsy television interview and came back
from the run in thermal bags suffering from hyperthermia. They
recovered quickly enough to celebrate Father’s 40th birthday with
the whole family, line dancing. This play written for youth had its
moments, and some of the young cast were hard to hear but they
showed they enjoyed the experience.
Mrs Thally F
Written by John Romeril (1971)
Directed by Michaela Smith
Although first staged at the Pram Factory and directed by Graeme
Blundell, this work has not dated. Based on the true story of a wife
poisoning two brutal husbands, this work was well acted and
directed. We reminisced as we saw the wife, Vonnie (Deborah
McKelvey), relate the events of the past, with a younger
“Imaginary Vonnie” (Rachel Cox) dancing her way through the
poisoning of her two husbands Desmond and Bluey, both played
out by (Dominic Lee Watt).
Vonnie’s mother (Chloe Bedlow) was strong, as was Tanya
Jenkinson as Mrs Roach, an aunt, and Mrs Witchard, a neighbour. I
was most impressed with Dominic Lee Watt as he said nothing
and was emotionless throughout the many well-delivered tirades
centimetres from his face. A well-controlled performance.
Fur Better or Worse
Written by Colin Donald
Directed by Laura Bradley
Hartwell won awards from this work in a country One Act Play
Festival and it certainly deserved recognition, as this performance
showed the ability of James Shaw as an actor. He was a highlight
and was “purrfect” as cat, Felix. His cat sounds, facial expressions
and hand and body movements brought to life the many
characteristics of a cat. Toni (Rosie Renye), his owner, had fallen on
hard times in her love life and, in a cat way, Felix tried to
encourage Toni to befriend Robyn (Aynslie Watson), a door-todoor salesperson of cat products. During this time Felix endured a
dogfight and some self-sacrifice, with the result that Toni and
Robyn became friends. The ending, however, did not do justice to
the great work of James Shaw as it put the emphasis on the love
life of Toni and her newfound friend, Robyn.
One Act Play seasons of this nature are well worth considering as
it gives more directors, cast and technical teams opportunities,
while increasing audience numbers.
Below: Rosie Renye and James Shaw in Murder & Mirth: Fur Better
or Worse. Photos by Nathan Jones
Above: (l–r) Barry Baker, Alicia Mew, Claire Watt and Michaela Smith in
Hartwell Players’ Murder & Mirth: Committed.
Simon Crean, Federal
Minister for the Arts,
visits CLOC Musical
Theatre
Melbourne’s CLOC Musical Theatre recently ended a spectacularly
successful season of the music theatre classic Fiddler on the Roof.
The show was rapturously received, universally acclaimed and
broke attendance records for the company. It was a wonderful
achievement for CLOC, which took a well known and well
loved favourite tale and produced a high quality production in
every department, with an emphasis on authenticity, from the
intricate sets (complete with Russian and Hebrew writing and
Jewish paraphernalia), layered costumes, period props and even
extending to ensuring all Jewish customs and minutiae were
correctly portrayed onstage. It was very gratifying to know that
this effort and attention to detail paid off via the appreciation of
the large number of patrons who attended and loved the show,
with many returning for a second visit.
In the lead up to the show, CLOC achieved another first, with a
visit on May 5th by Simon Crean, Federal Member for Hotham and
Federal Minister for the Arts. Mr Crean visited CLOCworks, the site
in Heatherton where CLOC constructs their sets and sews their
costumes. Given that this site sits within Mr Crean’s electorate,
and given his position as not only Minister for the Arts, but a lover
of both opera and musical theatre, it was a natural fit for him to
agree to come and see first hand what heights non-professional
theatre can reach.
Mr Crean spent over an hour at CLOCworks, firstly looking over
the busy Costume Resource Centre (CRC), inspecting CLOC’s store
of over 10,000 costumes and accessories, and chatting to some of
the wonderful volunteers who faithfully come each Saturday to
spend their day sewing, chatting, eating and laughing amongst
like-minded friends. He then moved next door to ‘The Shed’, the
set-building hub of the company. Here he inspected the very
impressive fully constructed set, chatted with costumed cast
members, and met with CLOC committee representatives and
several of the Fiddler production team, including Chris White, the
co-director and set designer for the show, and Grant Alley, longterm CLOC President.
Mr Crean was a warm, gracious and personable guest who
took time to chat to each and every one of the many CLOC
volunteers and performers who were there to greet him. He was
very impressed with CLOC’s facilities and skills, and with their
level of expertise and commitment to providing high quality
entertainment at affordable prices, as well as invaluable training
for many aspiring theatre performers and technicians.
For further information about the visit, see Simon Crean’s website:
www.simoncrean.net/index.html
Since Mr Crean’s visit, Fiddler on the Roof has come and gone, and CLOC
is now about to begin rehearsals for their next production, Lord Andrew
Lloyd Webber’s Aspects of Love, for a season running from September
23rd – October 8th. For all details, go to www.cloc.org.au.
Acting Workshop
Peridot Theatre is holding an acting workshop for adults on
September 26 and 28 from 7:30 pm and on October 1 from
10:00 am. Conducted by Helen Ellis, the workshop will be made
up of three classes at a cost of $80 for non-members and $60
for members of Peridot. Bookings are essential and enquiries
can be made to Robyn Kelly on 0438 724 664 or robynperidot@
yahoo.com.au
Simon Crean with members of CLOC Musical Theatre’s Fiddler cast.
Don’t forget, you can now check
out our recent additions to the
Library on the Website
from the shelves
THE WINTER OF 1917
By David Campton
One Act
6 Mixed Cast
Six members of a group of young people on an
initiative test are lost in a storm. They find what
appears to be an abandoned country house where
they take shelter. However, one room of the house is well lit and
has a roaring fire. On a table are gloves, an empty champagne
glass, a half-smoked cigar and a dance program. Everyone is
uneasy about this strange room and the bleak, stormy night,
everyone except Truepenny who is the only one able to feel any
heat from the fire and witness what is happening in this room
from the past. Slowly he draws in Clegg as the two of them take
on the personas of those belonging in this house.
THE ACTOR SPEAKS
By Patsy Rodenburg
Patsy Rodenburg is Director of Voice at London’s
Royal National Theatre and Guildhall School of
Music. In this book, she offers a complete voice
workshop for every actor and singer, whether
professional or beginner.
THE HITMAN
By J. C. W. Brook
One Act
2M 2F
This compelling comedy of devious plot and
counter-plot adapted from a radio play broadcast
on BBC Radio 4, begins with George and Alice,
an elderly couple, bickering over cucumber sandwiches. Sinister
undertones develop when George reveals he has a hankering
for a dusky maiden and has retained Mr Romero, the Hitman, to
take Alice for a final journey to a motorway construction site. Mr
Romero and his assistant Gloria arrive, but Alice is equal to events
and the play ends as it began with George and Alice still bickering
and Mr Romero somewhat richer.
THE PLAYS OF THE ‘50S
–VOLUME 1
Shipwreck
By Douglas Stewart
Sky Without Birds
By Oriel Gray
Night of the Ding Dong
and Plays
By Ralph Peterson
The Day Before Tomorrow
By Ric Throssell
The authors in this volume are the precursors of an Australian
theatre beginning to be heard in the post-war period, at a time
when material prosperity was overshadowed by the threat of
the Cold War, and Australians were increasingly daunted by the
challenges of mass immigration, the Korean War and what came
to be known as ‘the cultural cringe’. These playwrights of the 1940s
and 1950s made their own theatre.
BRAN NUE DAE
By Jimmy Chi and Kuckles
Full Length Musical Play
5M 3F
Bran Nue Dae is a great big happy musical filled
with laughter and some tears. It has risen out
of Broome in the far north west and the boisterous energy of
that fabled town drives the play forward, as Willy and Old Uncle
Tadpole flee the city to embark on a journey of personal discovery
and outrageous adventures back to their Aboriginal homeland.
publishing large cast musicals
AND quality one act plays
TWO WOMEN & A CHAIR
by Michael Olsen 2f
DECLINE AND HALL
by Roger Gimblett 3f 3m comedy
ALL MY LOVE PAUL
by Allan Mackay 2f 1m drama
TOP TEN TIPS TO WOO YOUR WIFE
by Bruce Olive 1f 1m comedy
peruse these and other great
one act play scripts free at
www.mavmuse.com
07 5494 4007
[email protected]
theatrebooks
And if the play you’re looking for is not there, we will try and get it for you. You may email your enquiry through the website, or call the
Office on 9663 4222, Monday–Friday, 10:00–3:00. Mail orders welcome.
PATRICK MARBER: PLAYS 1
Dealers Choice
After Miss Julie
Closer
$40.50
Firstly an enthralling close up of the demons which drive
compulsive gambler. Then one of his best plays of sexual politics.
Lastly, a drama set in a country house outside London on the eve
of Labour’s historic landslide in 1945. Three plays by multi-award
winning playwright, Patrick Marber.
MARTIN MCDONAGH:
PLAYS 1
The Beauty Queen of Leenane
A Skull in Connemara
The Lonesome West
$31.50
HENRICK IBSEN : A DOLLS
HOUSE AND OTHER PLAYS
The League of Youth
A Dolls House
The Lady from the Sea
$10.75
The three plays in this volume, each written a decade apart,
demonstrate different sides of Henrik Ibsen’s genius, but all deal
with themes of alienation from society and the breaking down of
convention. A Doll’s House (1879) portrays a woman questioning
her duty to her husband and seeking to escape the stifling
confines of her marriage, a theme that shocked contemporary
audiences and established Ibsen’s name outside Scandinavia. In
The League of Youth (1869), his first prose drama, Ibsen created a
vivid comedy about a hypocritical politician, and in The Lady from
the Sea (1888), he depicts a woman who longs to return to the life
she enjoyed before she was married. Peter Watts’ lively modern
translation is accompanied by an introduction examining Ibsen’s
life and times, with individual discussions of each of the three
plays.
The Beauty Queen of Leenane tells the darkly comic tale of Maureen
Folan, a plain and lonely woman in her early forties, and Mag her
manipulative ageing mother whose interference in Maureen’s first
and potentially last loving relationship sets in motion a train of
events that is as gothically funny as it is horrific.
A Skull in Connemara is the second of McDonagh’s Connemara
trilogy of plays. Mick Dowd is hired annually to disinter the bones
in certain sections of his local cemetery, in order to make way for
the new arrivals. As the time comes for him to dig up those of his
own late wife, strange rumours also resurface.
In The Lonesome West, the last of McDonagh’s Connemara trilogy
of plays, two brothers living in their father’s house after his
recent death find it practically impossible to exist without violent
disputes over the most mundane and innocent of topics. Only
Father Welsh, the young local priest, bids for reconciliation.
WANGARATTA PLAYERS INC.
Theatre Company
Established 1951 and still performing well
PO Box 109, Wangaratta, VIC 3676
ABN 41 144 158 349
“Diamonds are
The Arts’ Best
Friend”
60th Anniversary Cabaret Ball
BRIAN FRIEL: PLAYS 1
Philadelphia, Here I come!
The Freedom of the City
Living Quarters
Aristocrats
Faith Healer
Translations
$26.05
With the production of Philadelphia, Here I Come! in 1964, Brian
Friel established his claim to be the true heir of such distinguished
predecessors as Yeats, Synge, O’Casey and Beckett. Since then his
work has consistently demonstrated that his strength is an equal
awareness of the conditions of individual lives and the historical
and political forces affecting them. The plays in this first volume
are introduced by Professor Seamus Deane of University College,
Dublin.
with
High Society
Jazz Orchestra
The Wangaratta Players and the Wangaratta
Arts Council jointly invite you to celebrate 60
wonderful years of providing entertainment
in the community with a Black Tie/Formal
Cabaret Ball.
Where:
St. Patrick’s Hall, Ford St, Wangaratta
When:
Saturday July 16th 2011
Time:
7:00 pm for 7:30 pm start with BYO nibbles
Drinks:
Available at bar prices
Cost:
$35 per head (limited numbers)
Tickets are available at Edgars Newsagent — Ph. 03 5721 3758
For more information contact:
A. Grant 0434 865 024
M. Brickhill 03 5721 6523
L. Monshing 0427 297 570
ADVERTISE IN THEATRECRAFT!
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Enquiries to: [email protected]
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Have a Flyer inserted in Theatrecraft to advertise your next
production or business to a captive audience of theatre people!
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15th Annual
Victorian Drama
League Awards
Presentation Dinner
We are delighted to invite you to the 15th Annual Victorian Drama League Awards
Presentation Dinner for 2011.
Please take note of the details, and complete and return the Booking Form.
DATE:
Sunday, December 4, 2011
6:00 pm – 11:00 pm
VENUE: Merrimu Receptions
1300 Dandenong Rd, Murrumbeena (Melways 69 C4), cnr
Poath Rd, opposite Chadstone Shopping Centre
Parking available at Chadstone Shopping Centre car
park and surrounding streets
DRESS: Formal
COST:
$70.00 per head (all inclusive)
This covers drinks and savouries on arrival, and a threecourse dinner with red and white wines, beer, and soft
drinks. Other drinks may be purchased at the bar.
DINNER: Any special dietary requirements advise on this booking
form or at least two weeks prior to the awards dinner
through The Ticket Secretary. Please do not contact
Merrimu Receptions with these details.
TABLES: Round tables seating 10 people.
BOOKINGS:
Priority bookings of 10 tickets are available immediately to Awardentered groups.
Forward all bookings to the Ticket Secretary at the VDL Office no
later than Thursday, September 22, 2011. Make Cheques payable
to The Victorian Drama League Inc.
Additional tickets for Entrants, Members and other companies will
be open Friday, October 7, 2011.
Bookings will not be confirmed or tickets posted to you until
payment is received.
All bookings and payments close on Friday, November 11, 2011.
No refunds given.
If you require further information, please call the VDL Office on
9663 4222, Monday to Friday, 10:00 am to 3:00 pm.
Please complete and return the Booking Form below to The Ticket Secretary
BOOKING FORM
To: The Victorian Drama League
3rd Floor, Ross House
247 Flinders Lane, Melbourne VIC 3000
Please reserve ............... tickets @ $70 for the 2011 VDL Awards
Presentation Dinner on Sunday, December 4, 2011
Cheque for $.................. is enclosed (Payable to The Victorian Drama
League Inc.)
Name (Company/Individual):
....................................................................................................................................
....................................................................................................................................
Address for mailing tickets:
....................................................................................................................................
....................................................................................................................................
Dietary requirements (vegetarian, diabetic, etc):
Name of person and type of diet:
....................................................................................................................................
....................................................................................................................................
Suburb.................................................................. Postcode...............................
....................................................................................................................................
....................................................................................................................................
Phone Numbers:
Day........................................................ Evening..................................................
Mobile..................................................
Office Use
Date received:............................................................. Table allocated: .........................................................................
THEATRECRAFT
Volume 35 Issue 7
August 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 – Friday
Website: www.theatrecraft.org.au
PHONE/FAX: 9663 4222
[email protected]
[email protected]
[email protected]
[email protected]
Vice President: Edna Bartlett
Treasurer: Deborah Fabbro
Secretary & Webmaster: Geoff Kidd
Awards Sub-committee convenor:
Jill Edwards
General Committee:
Shane Ryan
Alan Dilnot
Chris Bartle
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
Office Staff:
Kym Davies (Manager)
David Crothers
Theatrecraft Editor: Damian Vuleta
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.
Note: Any correspondence addressed to any area
of the VDL will not be formally acknowledged if the
correspondent is not identified.
INDIVIDUAL:
$55 pa
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
Includes Theatrecraft and hiring rights, single
play copies only. An individual is entitled to
vote at the AGM.
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.
20th of the month: FLYER INSERTS
These must be received at the Office. Please book with the office.
PHOTOS:
If your show is being reviewed, please send a photo from your production to publish with
the review. Email to [email protected]
www.origintheatrical.com.au
Level 1, 213 Clarence St, Sydney NSW 2000
Ph: 61 2 8514 5211 or 61 2 8514 5204 Fax: 61 2 9518 4611
ORiGiN™ Theatrical is an Australian Independent Music Company.
Full Length Comedy/Mystery. Cast: 6m., 6w.
The Palace Theatre actors are just getting
ready to rehearse the final scene for their
latest production, "I Ain't Got No Body,"
when they run into a snag. The director
who wrote the play is found dead onstage.
Lois is shocked into an allergy attack! Ava
faints! Luther orders a pizza!
Approximate running time: 90 minutes.
Full Length Comedy/Mystery. Cast: 6m.,
7w., plus 11 to 40 either gender.
One Act Comedy. Cast: 2m., 2w.
One Act Drama. Cast: 3w.
Sherlock Holmes and his faithful
sidekick, Dr. John Watson, have left on
an extended holiday throughout Europe,
leaving their nieces—Shirley Holmes
and Jennie Watson—to keep an eye on
the famous flat at 221B Baker Street.
Nancy and Don, a young married
couple, are arguing. Nancy thinks the
new neighbours are creepy. She thinks
they're watching them. Don thinks
she's imagining things. But why did
the new neighbours cut down the
tree between their houses?
Set in Northern Ireland during
the troubles of recent memory,
two women, one Protestant
and one Catholic, sit down
in the outdoor section of a
bakery shop.
Choose from over 1000 Musicals and Plays. Order scripts online.
Approximate running time:
25 minutes.

August 2011 - Victorian Drama League

Transcription

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