November 2011 - Victorian Drama League

Transcription

theatrecraft
THE VICTORIAN DRAMA LEAGUE INC.
ISSN 0311-7138
webpage: www.theatrecraft.org.au
email:[email protected]
November 2011
New Opening Hours
commencing from Monday, November 7
The office will open only 3 days per week
Monday, Wednesday and Friday
10:00 am – 3:00 pm each week.
INSIDE THIS ISSUE:
Office Notes
Deloraine Festival Results
3
Centrestage
8
2011 VDL Award list
9
What’s On
10
Auditions
12
Tech Corner
We will be closed Tuesday and Thursday
2
11, 13
From The Shelves
16
Theatrebooks
17
SONGS AT DANDENONG
VDL Awards Dinner
Booking Form
19
“It’s about one moment, the moment before it all becomes clear and in that one moment, you start to
believe that there’s nothing to fear…”
Membership and
Contact Details
20
Dandenong Theatre Company (DTC) is at that one moment as the opening of our fourth and final
season for 2011: Songs For A New World by Jason Robert Brown (known colloquially as JRB) comes
upon us. This acclaimed show was workshopped from a group of original songs by JRB in the ‘90s
for cabaret performance, which were later collated as a musical. There is no fixed narrative; rather a
series of stories in which each character is at that moment: they have the choice to stay where they
are, take a step back or to embrace the moment and move forward. It is, in turn, inspiring, compelling,
joyful, heart-breaking and funny — a true actor’s musical — with a common theme of a sense of
disconnection from the global community and finding that light in the darkness.
DTC has enjoyed a 38-year presence in the vibrant Melbourne community theatre scene and has,
I believe, carved a special niche for itself within that community in that time. We have enjoyed
audience and critical acclaim with such varied productions as our most recent production of Speaking
In Tongues (2011) preceded by The Laramie Project, Dimboola (2010), A Midsummer Night’s Dream,
Cabaret (2009), Get Smart (2008), Sweeney Todd, Noises Off (2007) and Les Misérables (2006) to name
just a few. We have enjoyed much success and recognition for this work, which was highlighted at the
Lyrebird Awards 2011 ceremony at which we took away six awards for The Laramie Project including
the Gold Award for Best Drama Production, Best Director (Kym Davies) and Best Ensemble in a Drama.
As part of our extended operations, we have also provided company members the opportunity to
present original works at various festivals across Victoria. Most recently, we took an original play, Don’t
Take It As Gospel, by long-term company member, Matt Caton, to the Melbourne Fringe Festival 2011.
In 2010, it was another original play, Death Of A Fishfinger by Rhys Martin, that was taken by DTC to the
one-act play festival circuit around Melbourne.
We have continued these productions even in the
light of recent challenges faced by DTC (as has been
faced by many theatre companies): limited resources,
a dwindling audience base, no permanent home and
the upcoming demolition of our costume/set storage
facility, affectionately known to all as The Palace,
on December 1, 2011. As the current President and a
passionate advocate of DTC at this difficult time, I see
myself as a custodian of this company and its history;
my priority is to see it through and to see it continue
to inspire and create beautiful theatre.
REVIEWS
5
ASPECTS OF LOVE
CLOC Musical Theatre
5
LOVE LETTERS
Mordialloc Theatre Company
6
THE 39 STEPS
Heidelberg Theatre Company
THE VOYSEY
INHERITANCE
7
The Hartwell Players
THE MOUSETRAP
14
Ballarat National Theatre
DON’T TAKE IT AS
GOSPEL
14
Dandenong Theatre Company
VERBATIM
INH Productions
As JRB would say:“… and you didn’t know that you
sometimes have to go ‘round an unexpected bend,
and the road will end in a new world”.
Colin Morley
Left: the cast of Songs For A New World. Photo by Tim
Blencowe
4
BLACKROCK
Essendon Theatre Company
Stephen Smith ponders his
Voysey Inheritance on Page 7.
15
office
From the
Desk of the
VDL Awards
Convener
Last Chance: Don’t Miss Out!
th
The VDL Awards Sub-Committee is busy preparing for the 15 VDL
Awards Presentation Night. This is the last time you will receive
a printed booking form for the 2011 VDL Awards Presentation
Night; it appears on Page 19. However, a downloadable booking
form is still available on our Website. A sincere ‘Thank You,’ to the
participating Theatre Companies who have already booked and
ensured their seat for the evening. The VDL Committee is proud
that our all inclusive ticket price has remained the same as last
year.
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. Once again, the very talented and
entertaining Peter Newling will be our Master of Ceremonies.
Our Adjudicators have now seen and reviewed all 28 productions.
They will be reviewing and submitting their results for
scrutinizing. So girls it is time to find that special dress and guys to
get that dinner suit as it is now officially countdown time for the
Annual VDL Awards!
The trophies will soon be inscribed at V. F. Trainor’s so that they
will be ready to be presented to the lucky recipients. So, make sure
you book now to avoid missing out, for the VDL Awards held on
Sunday, December 4!
2012 VDL Awards
The 2012 VDL Award Rules and Entry Forms are now available for
downloading from the VDL website.
See you there.
Jill Edwards
VDL Awards Convener
President’s
Notes
The most important item on my agenda for these notes is
to remind all members of the reduced opening hours of The
Victorian Drama League’s office and library.
The days of opening are to be Monday, Wednesday and Friday
only.
The hours of opening and responding to messages will be 10:00
am to 3:00 pm only.
These arrangements start on the week commencing November 7.
As a result of these changes it will be necessary for members to
note that if you order books to be posted to you or to be picked
up from the library by you by a certain date your request must be
communicated to the library staff in plenty of time to enable them
to satisfy your requests.
Messages can still be left for the office at any time but they will
not be responded to until the library is next open.
The altered hours mean a re-organization of the administration of
the League and at its last meeting your committee started on this
task.
As there was no secretary or treasurer elected at the Annual
General Meeting Edna Bartlett is acting as Treasurer and I am
acting as Secretary pro tem.
With all best wishes,
Richard Burman
Adult Summer School
News
Hi, all.
Trading Name
For some time your committee has been discussing the idea that
the VDL should have a trading name.
We have members in other states of Australia.
A few names have been put before the committee but we feel that
all the members of the League should have the opportunity to
submit suggestions for a trading name for consideration.
Any suggestions you may have should be submitted to the office
or the President by 31 January 2012.
PLEASE NOTE:
The VDL accepts Credit Card payments
(Visa & Mastercard), and we also have
EFTPOS facilities
Page 2 — Theatrecraft November 2011
There are still some places left for the both the Acting Stream and
the Directing Stream at The Victorian Drama League’s 6th Annual
Summer School.
As soon as you secure your placing with the deposit, you will be
sent a confirmation email and in early January you will be sent the
texts you will be working on. That is where the fun and the hard
work will start. But oh my, it will be so worth it.
Do not miss this golden opportunity. The prices we are charging
for next year’s adult summer school are the lowest we have
ever charged; it’s an extremely good deal and satisfaction is
guaranteed!
Please feel free to contact me for an application form or if you
have any queries. My number is 03 9509 9992 or email me at
[email protected]
Cheers,
Liz Lipski
Adult Summer School Coordinator
Deloraine Dramatic
New Members
Society 2011 Festival of Individual
One Act Plays: Results
The VDL welcomes these new members:
Held Friday, October 7 and Saturday, October 8, 2011. The
adjudicator was Dennis Betts.
Best Production
≠
Georgina Hearnden, Sandringham
≠
Annette De Boer, The Patch
≠
Rarmain Newton, Caulfield South
The Cage Birds, written by David Campton, Devonport Repertory
Society (by special arrangement with Dominie Pty. Ltd).
Runner Up Best Production
The Browning Version, written by Terence Rattigan, Square Pegs
(Hobart).
Best Male Actor
Ian McQueen as Andrew Crocker Harris in The Browning Version,
Square Pegs.
Best Female Actor
and Plays
Two more AWARD WINNING ONE ACT PLAYS!
from the 2011 Noosa One Act Playwriting Festival
Rebecca Nilsson as Marsha in Smoke Scenes presented by
Launceston Players.
Most Promising Actor
Fran Suitor as Grace in The Trips, Launceston Players.
Nothing
by Mark Lanham 1 f 2 m comedy
Overall Festival winner
Best Comedy
Variations on the Death of Trotsky, written by David Ives,
Spotswood Parish Players (Melbourne).
Best Duologue
Jonathan Pedler and Karen Atkins as He and She in I Dream Before
I Take the Stand, written by Arlene Hutton, Three River Theatre’s
StandPoint Theatre (in association with Play Scripts Inc).
The Graham Corry Award for Best Director
(Presented on behalf of Hobart Repertory Theatre Society)
Beth Geoghegan, I Dream Before I Take the Stand, StandPoint
Theatre.
Production Team
Wanted
The Knock on the Door
by Bruce Olive 2 f 2 m drama
Winner of the Audience Choice Award
peruse these and other great scripts FREE at
www.mavmuse.com
07 5494 4007
[email protected]
Purely Pensive Productions are seeking an enthusiastic director and
production team for their April 2012 production of Two Weeks with
the Queen, an adaptation of Morris Gleitzman’s novel by Mary Morris.
The available positions include:
≠
Director
≠
Stage Manager
≠
Costume Designer
≠
Set Designer
≠
Set Construction Manager
≠
Properties Manager
≠
Backstage Crew
≠
and assistant roles (if required).
PPP is an established theatre company based in Melbourne’s north
east. Two Weeks with the Queen will be the company’s 13th major
production, to be performed at Mechanics’ Institute Performing Arts
Centre, Brunswick (April 26–28, 2012).
We encourage people of all levels of experience to apply, from the
first timers to the very experienced! You are welcome to apply for
more than one role/combination of roles.
Please contact [email protected] for an information/
application pack. Applications close Friday, November 4, 5:00 pm.
Interviews to be held during the evening on November 6 and 10.
Theatrecraft November 2011 — Page 3
reviews
(l–r): Thomas Shakespeare, Del Barwick, Brayden Germaine, Ross Tempset and Stavros Milionis (foreground) in Essendon Theatre Company’s
Blackrock. Photo by Rosalin Shafik-Eid.
BLACKROCK
by Nick Enright
Directed by Rachael Holt
Reviewed by Graeme McCoubrie –September 17, 2011
Blackrock is a challenge and this was acknowledged in the
Director’s opening comments in the programme. With its
complexity of characters and high emotions, Essendon worked
hard in tackling Nick Enright’s somewhat controversial play of the
late seventies in a cabaret style environment.
While Essendon favour the cabaret concept, Blackrock is a work
that deserves to have an audience in a theatre layout without
the distraction of food and drink during the performance. It is
a dramatic play dealing with the consequences of a teenage
rape that ended in death, and with an underlying theme of male
bonding with a negative attitude towards women.
On the wide stage, each wing was used to depict the homes of
two of the teenagers while centre stage was a beach with some
sand at the base of a large rock face incorporating a rocky seat
which was used to good advantage for many scenes. Lighting
was a general wash most times when it could have been plotted
just to light the acting areas, particularly in some of the emotional
and hectic scenes on the beach when both homes were often still
unnecessarily fully lit.
A cast of fifteen, some with multiple roles, generally adapted well
to the work while one or two did not give us much variation in
©
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.
delivery and perhaps were not directed to understand that high
emotion does not mean shouting. In some crucial moments the
delivery was inaudible and we were left to wonder what was said.
A graveyard scene was lost because of this.
Nick Enright did seem to write in some scenes that didn’t really
have much relevance to the plot; certainly that is the way it
seemed.
Having said all of that, the roles of the young teenagers was well
representative of teenage beach culture and the acting reflected
this. The lead role of Jared Ackland holds the play together and
Thomas Shakespeare gave a strong and measured performance
particularly in the first half, while a totally different side of his
character came to the fore in the second half.
Brayden Germaine as Jared’s best mate Ricko did rush some of his
lines, but he grew in confidence as he asked Jared to cover for him
after being accused of the murder. This sequence was strong and
pivotal to the meaning of the play. However, their fight scenes, as
well as several others, could have been better choreographed. Too
often they were far too robust and through shouting much of the
time, the dialogue was lost.
Mateship was personified with the trio of Scott, played by Stavros
Milionis, Davo by Ross Tempest and Toby Ackland by Lachlan
Montague Lachlan was ahead of the three in his performance
level, playing well and expressively to the audience.
While we didn’t see the victim Tracy Warner, we did experience
some of her pain through the presence of her girlfriends, Rachel
Ackland (Melissa Karakaltsas) and Cherie Milenko (Melly McVeigh).
Cherie’s grief poured out at the graveside; however, Melly did
spend a lot of the time shouting and fighting.
Donna Maslen as the mother, Diane Kirby, was commanding and
was well supported by Marianne McLoughlin as the other mother,
Glenys Milenko. Rick Barry played in three cameo roles and
impressed particularly as Stewart Ackland. Cat Dwyer as his wife,
Marion Ackland, was articulate and had great presence.
Perhaps some of the behavioural problems of the teenagers
stemmed from the parents as we did see the mothers at a male
strip club being tantalised by a masked male physique; this scene
could have been better portrayed even by just dimming the lights.
The play is well suited for teenagers and most of it worked giving
these actors a chance to hone their performance skills.
ASPECTS OF LOVE
Music by Andrew Lloyd Webber
Lyrics by Don Black and Charles Hart
CLOC Musical Theatre
Directed by Shaun Kingma
Reviewed by Ken Barnes – September 28, 2011
Performances by CLOC at the friendly National Theatre had always
been great fun, so I was looking forward to another pleasurable
experience even though Melbourne turned on its best storm that
evening, and despite having mixed feelings about Andrew Lloyd
Webber’s music. In this convoluted tale, the audience is taken
on a whirlwind emotional journey with a French actress, Rose,
her lovers, and even her daughter as they all weave in and out of
various romantic attachments. The story covers 17 years during
which Rose moves from poverty to stardom, her youthful lover
Alex is spurned and joins the army, Alex’s uncle George meets and
marries Rose, their daughter Jenny falls for Alex, George’s Italian
mistress Giulietta has a brief flirtation with Alex and a hinted-at
lesbian relationship with Rose, who in turn is having a bit on the
side with Hugo. Though euphemistically called Love, there are of
course more apt words to describe the motivation and behaviour
of the main characters, but it is not my job to moralise.
As patrons have come to expect from CLOC, the set was innovative
and imaginative. There were no less than 37 scene changes and
each one was managed with breathtaking efficiency through
precise movement of the scrim curtains to focus attention from
one area of stage to another. Apart from the frequent changes in
building façade and furnishings, the story called for several special
effects; for example, to evoke the atmosphere of a speeding train,
an army encampment and a circus in Paris. In keeping with the
set, the costumes were colourful and equally sumptuous. The
talented design team was headed by Brenton Staples (set), Nancy
Matthews (costumes), Stelios Karagiannis (lighting), Alan Green
(audio) and Grant Alley (technical). It was difficult to find fault
with any aspect of direction, design or execution, save for the
sound volume which could have been several decibels lower so
as to bring out the poignant moments and still deliver the more
strident music.
Rosa McCarty was well cast as the actress, her strong voice and
confident movements on stage seeming appropriate to the
assertive and femme fatale character who had such a devastating
effect on hapless males. But by the end of Act I most of the
audience would have realised that this was not a particularly
likeable character and certainly not a woman to be trifled with.
Blake Testro played Alex, smitten as a naïve 17-year-old by
Rose and pursuing her with only mixed success for many years
thereafter. His was another good performance, his strong voice
and energetic approach to the role making quite an impact, yet
his character (like Rose) came across as a little too shrill because
of the volume. Uncle George was a more comfortable character
and one with whom I could connect. Zac Brown was an excellent
fit for this role which called for a well-modulated voice and subtle
mannerisms needed to convey the more poignant feelings that
came with the protection of Jenny and his advancing years in
Act II.
A first-rate supporting cast was headed by Lauren Elise, who
played the interesting Italian sculptress Giulietta with considerable
panache, and Adam Rafferty, perfectly cast as the ever-patient
Marcel. By the end of the show my sympathies were with these
two characters, and of course George who by that time had
departed the scene. The two younger actors who played Jenny
Dillingham were both brilliant. Jasmine Dare turned in a sparkling
performance as Jenny at age 15, her scenes with Alex some of the
most memorable, while Eliza Bennetts O’Connor’s lilting portrayal
of Jenny at 12 was totally delightful. Several other voices and
roles in the ensemble completed a first rate cast, all backed by a
fine orchestra led by Andrew Houston and with choreography by
Tamara Finch.
It took me a while to come to grips with Aspects of Love, partly
because Act I moved at such a frantic pace and with so many
scene changes and strident voices that it was difficult to connect
with the actors. By the middle of Act II this had changed, notably
as George’s age and health became a factor, as Jenny appeared
on the scene and as Giulietta’s personality became evident. Apart
from the blockbuster and oft-repeated “Love Changes Everything”,
some of the best songs were in Act II and included “There Is
More To Love” (Giulietta’s studio), “The First Man You Remember”,
“The Mermaid Song” and “Other Pleasures” (all performed on
the terrace). So while admitting my prejudices, there were at
least some engaging moments. Unfortunately the lyrics were
pedestrian and one-dimensional, perhaps in keeping with the
superficial nature of the story. Nevertheless CLOC did an excellent
job in bringing Aspects of Love to the stage and making the best of
what was some pretty uninspiring writing.
LOVE LETTERS
by A. R. Gurney
Mordialloc Theatre Company
Directed by Judy Corderoy
Reviewed by Jill Watson – September 23, 2011
This is a poignant love story told through letters between a man
and a woman, Andy and Melissa, starting when they are at primary
school and continuing through to their 50s. They are almost starcrossed lovers, as circumstances over the years conspire to keep
them apart or special meetings don’t quite work out.
Set on the east coast of the USA, Andy is a very responsible child,
a virtue he carries into adulthood. Good middle-class parents with
Continued on Page 6
From CLOC’s Aspects of Love: Left: (l–r): Zak Brown and Lauren Elise; Right: Sharon Stokes as the Ringmaster. Photos by Stephen Ransom.
Continued from Page 5
high principles, in particular his father, who wants his son to do
“good things” for the community and beyond. Andy does fulfil this
by studying law and eventually entering politics and making it to
senator.
Melissa is a highly strung, “little rich girl” from a broken home,
with mother re-marrying at least two more times plus a drinking
problem, which manifests itself in due course with Melissa.
This is a fairly static play in that the two characters are confined to
their respective areas stage left and right. The areas are depicted
very effectively (credit to Martin Gibbs for design). Melissa’s is an
easy chair and side table, with a low-lit lamp. Behind Melissa is a
screen with a shawl thrown across it and a pot plant on a stand
in front. Andy’s area is very plain: an office desk and chair with
bookcase behind.
The actors take it in turn to read out their own letters and we see
the reaction from the other actor when he or she mimes reading
the received letter. Surprisingly, this works well. Leonie Adams as
Melissa conveyed a lot of action and reaction and had obviously
learned a few lines here and there which enabled her to lift her
face more. Her performance was a tour de force, and she brought
a huge lump to my throat in the final scene. She looked wonderful
in her elegant blouse and sparkly stole and never missed a beat.
Neil McColl was also very watchable and looked the part perfectly,
playing up the stuffy side to perfection. I felt he could have
conveyed his extreme youth a little more, as Leonie managed
to sound like a little girl at that time. Also, a move to have him
leaning against the desk, audience side, wasn’t quite right for a
young boy. Better to have had him sitting on the table and maybe
swinging his legs. Later, when he is an adult, he had this latter
move, when the leaning against the desk would have been more
appropriate. I also felt that he could have looked up a bit more, but
overall, his was a fabulous performance. His reactions to letters,
particularly the over-the-top and probing ones, from Melissa were
excellent. His last letter to Melissa’s mother was very touching.
There are many layers to this work, and we hope the two of them
will finally be together. Andy is obviously mad about Melissa right
from the start at school, but she wants to play the field. Then
when she finally is interested in him outside of mere friendship,
his ambition gets in the way. We follow her gradual deterioration
and his growing success with much interest and, ultimately, great
sadness. Lots of humour along the way with much thought in the
direction. A wonderful night at the theatre.
Lighting design (Gordon Boyd) and sound design (Tim Long) all
worked well. Congratulations to everyone concerned.
THE 39 STEPS
by Patrick Barlow
based on the novel by John Buchan
and the film by Alfred Hitchcock
Directed by Justin Stephens
The Patrick Barlow adaptation of John Buchan’s 1915 classic tale of
intrigue and derring-do draws heavily on the 1935 Hitchcock film
version by adding some romance and a few tweaks and twists to
the plot. More spectacularly, the Barlow version transforms the
drama into a farcical send-up of the original, brings it to the stage
with only four actors and introduces a whole raft of innovative set
adaptations to enrich the comedy and engage the audience. The
problem for any company courageous enough to accept Barlow’s
challenge is that his version needs to be done well — really
well — and at a breakneck pace. The whole edifice would come
tumbling down if the acting and production standards were not
top line.
Director Justin Stephens has at least one prior conviction for
The 39 Steps and this was written up enthusiastically by a fellow
reviewer in the April 2011 issue of Theatrecraft. For the HTC
production he assembled an impressive team of actors, three
of whom (Chris McLean, Adrian Carr and Kate Bowers) were in
the earlier production. To these he added James Cutler who
was the perfect fit for this stellar cast. Chris McLean played the
adventurous hero Richard Hannay with comic British seriousness
as he struggled to overcome the treacherous German spies,
escape the bumbling police and avoid the clutches of acquisitive
women. His was an energetic, sustained and brilliant performance.
(l–r) Leonie Adams and Neil McColl in Mordialloc Theatre Company’s Love Letters. Photo by David Ellis.
Equally engaging were the two other male leads, with both
Adrian Carr and James Cutler playing multiple roles which called
for lightning-fast and mostly hilarious changes of demeanour,
posture, attitude, accent and costume. Whether policeman,
milkman, hotel clerk, spymaster, crofter or professor, both actors
had the audience in fits throughout the show.
Kate Bowers played the three female roles with panache and
provided an ideal foil for the stiff-upper-lip hero, whether darkly
threatening as the German spy Annabella, shrinking as the
reluctant Pamela or being coyly bewitching as Margaret. The
sequences where Margaret and Hannay flirted under the watchful
eye of her sanctimonious crofter husband (played by Adrian Carr)
were perhaps the most gently amusing. Although the comic
version of The 39 Steps requires all four actors to ham it up in
playing to the audience, they went over the top only rarely and
briefly. The script was clever and whimsical, never coarse or ribald,
and the acting was appropriate to it.
(l–r)James Cutler,
Adrian Carr, Kate
Bowers and Chris
McLean in Heidelberg
Theatre Company’s
The 39 Steps. Photo
by Patricia Tyler.
The Barlow version of The 39 Steps calls for precise stage
management, an extremely flexible set and first rate lighting and
sound, all of which were evident in HTC’s performance. Margaret
Hassall and Maureen McInerney coordinated the production, with
Margaret also acting as stage manager. The set was designed
by Merinda Backway and featured some amazing gimmicks and
props including a simulated railway carriage, the Forth Bridge, a
waterfall, a boar’s head with illuminated blue eyes and a Scottish
pipe band (not to mention a smelly bog and a cleft rock provided
by an acrobatic James Cutler). The lighting was designed by Deryk
Hartwick and the sound, which featured some authentic effects
and well-chosen atmospheric music, was both designed and
operated by the director. Some of the special effects included
a silhouette depiction of Hannay on the run in the highlands,
pursued by police and 1914 biplanes. Thanks to Sylvia Carr and
Wendy Drowley, the many costumes were varied and often
outrageous, all of which added to the fun.
It was clear that a huge amount of work had been put into The 39
Steps by the director, actors and HTC’s production team. I’m still
smiling as I write and that says something for the lasting effect of
this brilliant performance. It was a nice touch to include several
of the backstage team in the curtain call, for everyone involved
deserved the wild applause that followed the final curtain.
that reveal the personal lives of the Voysey sons, their wives and
associates.
The Ashwood Performing Arts Centre is a cavernous theatre, with
tiered seating overlooking a huge performance space in which
Hartwell had arranged two sets; one representing the office of
Voysey & Son, Solicitors, and the other the Voysey’s dining room.
Each was furnished austerely though appropriately (even to a
period telephone) and illuminated in accordance with scene
changes. The dining room was overseen by a portrait of Voysey
Snr painted especially for the performance by the talented
Joanne Coleman. The difficulty with such large auditoriums
is that sometimes the quieter voices drift off into the ether so
some of the dialogue was missed by the audience. On the other
hand, the performance was accompanied by tasteful classical
music which also greeted patrons in the welcoming foyer. The
competent production team was headed by Joanne Watt and Kate
Deavin (the latter as stage manager) and included Mark Hodgson
(lighting design) and Kathy Noble (costumes). There were no
glitches on the night I attended though I would have preferred
some arrangement that would have avoided the rather long pitch
dark scene changes.
The Voysey Inheritance calls for a cast of 12 so any director would
have faced a daunting task in assembling an evenly matched
group of players. Bruce Cochrane did a good job of it, considering
that most of the actors needed to be of a similar age. This was a
drama that relied on a good deal of carefully structured dialogue
with very few surprises and little to get hearts racing in the
audience. However, a few of the actors stood out. Stephen Smith
was on stage for most of the play as the lead character, Edward
Voysey. He delivered his lines with precision though in low key
and often with inadequate projection, the latter due partly to the
space problem mentioned above. Impressive performances were
also turned in by some of the female actors. Caitlin Hughes played
Alice with a natural vivacity, mannerisms and speech inflections
to give her role the colour and vitality it deserved. Alison Knight
fitted well with her character, Honor Voysey, playing the role with
restraint and gaining some sympathy from the audience. Louise
Powell also offered a low-key interpretation of Beatrice and came
into her own in Act II when defending her position in the face of a
family revolt.
I thought most of the male actors were flat on the night I
attended. However, Colin Park was able to project believable
gravitas as George Booth and Damian Vuleta made a valiant effort
to impersonate the volatile and assertive Major Booth Voysey.
Overall, I was underwhelmed by The Voysey Inheritance. Despite
some sophisticated dialogue the story became rather tedious
as it wore on and I found it difficult to connect with any of the
actors as they delivered their lines with little emotion and minimal
body language. But to be fair, that’s probably the way it was in
middle-class British society back in the early 1900s, so it might
be argued that the portrayals were accurate for the times. In the
program notes the director wisely observed that “Human nature
hasn’t changed much”, but I guess we are now less inhibited, more
demonstrative and have come to expect some fireworks on stage.
THE VOYSEY INHERITANCE
by Harley Granville-Barker
The Hartwell Players
Directed by Bruce Cochrane
Stock market volatility, improper use of clients’ money for personal
enrichment, financial chicanery on a grand scale and family
squabbles about wealth management. Sound familiar? There
was nothing new in this twisted saga for it had been going on in
the Voysey family well before Granville-Barker wrote about it in
1905. When the family patriarch dies of a heart attack his doubledealing is revealed to his children who must choose between
probity and expediency. The first involves financial deprivation,
the other a guilty continuation of their comfortable lifestyle.
Lurking under the stocks and bonds are a number of sub-plots
Stephen Smith and Colin Park discuss The Voysey Inheritance at
Hartwell Players. Photo by Nathan Jones.
centrestage
A series arranged by Kym Davies
Actor/Director: Kym Davies
Current production: Nadda… Just finished Speaking In Tongues
and Don’t Take it as Gospel for the Melbourne Fringe Festival, both
staged by DTC
Kym Davies in
Speaking In Tongues
with Dandenong
Theatre Company.
When did you start acting? At birth…. perhaps even before…
Group you’ve worked with the most: Dandenong Theatre
Company. I am a life member with DTC and have been involved
on and off stage with the majority of their productions over the
last 10–15 years. I have performed in Hot Mikado, Steel Magnolias,
The John Wayne Principal, Popcorn, A Midsummer Nights Dream,
Dimboola, Get Smart and Noises Off, all with DTC.
Director you’ve worked with the most/director who has inspired
you: I have been directed the most by the very talented and brave
Sharon Maine. I am inspired by the sheer focus and intelligence
of Matt Caton’s direction, Colin Morley creates inspired outcomes,
& Tanya Ryder-Barnes from Gemco is very creative, develops her
actors and pushes boundaries with her work. You would be very
lucky to work with any one of these people.
What inspires you as an actor in general? People in general ( I
like to watch them), writers, creative directors, and the absolute
perfection of being on stage communicating to an audience.
Most recent production you have directed: The last full production
I directed was The Laramie Project for DTC. I think I am still
recovering… I also directed a rehearsed reading at La Mama for
the 2011 Midsumma Festival.
Role you’d love to play: Blanche or Lady Macbeth, or Velma in
Chicago (never gonna happen)
Other stuff: I have also worked extensively as a set designer,
production manager, costume designer, scenic artist and stage
manager.
When did you start directing? I first directed in high school: Samuel
Beckett’s Play. However, my first full production was King Oedipus
with BATS.
Favourite role so far: My favourite all time role would be Belinda/
Flavia in Noises Off (directed by Matt Caton), although playing
Truvy in Steel Magnolias (directed by Sharon Maine) was also an
awesome and very rewarding experience.
Favourite play you’ve directed: I loved The Laramie Project, but
the most fun I ever had directing was Ben Elton’s Popcorn… I love
blood and guns on stage… so technically challenging…
Most challenging play you have directed, and why: Cabaret was
extremely challenging as it was the only musical I have directed
and you have to deal with choreographers (phew!) and many more
merging elements and opinions, but I was very, very happy with
the outcomes. The hardest thing I have ever directed was Waiting
For Godot; difficult and exhausting but extremely rewarding both
personally and professionally.
Play you’d love to direct: Rhinoceros (Ionesco), or A Street Car
Named Desire (Williams).
With Daniel
O’Kane in
Dandenong
Theatre
Company’s
Don’t Take It
As Gospel.
Season 5
CROSSING
DELANCEY
by Susan Sandler
Director: Christine Grant
November 10 –
December 10
Season 1, 2012
ROUND AND ROUND THE
GARDEN
by Alan Ayckbourn
Director: Chris Procter
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.
Bookings & Enquiries: 9758 3964
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
SPEAKING IN TONGUES (D)
by Andrew Bovell
Director: Colin Morley
August 26–September 4
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
Eltham Little Theatre
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
Malvern Theatre Company
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
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
September 22–October 1
Kyneton Theatre Company
SWEET ROAD (D)
by Debra Oswald
Director: Bronwyn Neill
October 21–29
AWARDS
ENTRY
what’s on
SEASON
GROUP
For more information on the productions, including
exact performance dates, please visit our website:
www.theatrecraft.org.au
PRODUCTION
BOOKINGS
October 21–November 12
WARRANDYTE
THEATRE COMPANY
Evenings: 8:00 pm
Matinée: November 12, 2:00 pm
ALMOST, MAINE by John Cariani
Directed by Phyl Swindley
Cnr Yarra St and Mitchell Ave, Warrandyte (Melway: 23 F11)
0488 333 575
October 27–November 6
Evenings: 8:00 pm
Matinées: October 29 &
November 5, 4:00 pm; October
30, 5:00 pm
November 2–5
Evenings: 8:00 pm
KEW COURT HOUSE
ARTS ASSOCIATION
CAFFEINE by Joachim Matschoss
Directed by Joachim Matschoss
Kew Court House, 188 High St, Kew (Melway: 45 C6)
9853 3551
THE FABULOUS
NOBODYS
YOU, ME, US by Joel Batalha
0402 179 731
Directed by Joel Batalha
Maroondah Secondary College, Brentnall Rd, Croydon (Melway: 50 E3)
November 3–12
SUNSHINE
THE TANK by Steve Thomas; original music and lyrics by Mick Thomas 0407 802 165
COMMUNITY THEATRE Directed by Craig Ryan
Evenings: 8:00 pm
Dempster Park Hall, 82 Phoenix St, Sunshine North
November 3–12
Evenings: 8:00 pm
MOOROOLBARK
THEATRE GROUP
9726 4282
November 3–12
TORQUAY THEATRE
TROUPE
Evenings: 8:00 pm
LIPSTICK DREAMS by Helen O’Connor & Simon Hopkinson
Directed by Yvonne Miller
Mooroolbark Community Centre, Brice Ave, Mooroolbark
(Melway: 51 12H)
DEATH BY FATAL MURDER by Peter Gordon
Directed by Fred Preston
16 Price St, Torquay (Melway: 237 G6)
November 3–12
DANDENONG
THEATRE COMPANY
Evenings: 8:00 pm
SONGS FOR A NEW WORLD by Jason Robert Brown
Directed by Colin Morley
Cranbourne Community Theatre, Brunt St, Cranbourne
November 3–13
SOUTHERN
PENINSULA PLAYERS
Evenings: 8:00 pm
THE MOUSETRAP by Agatha Christie
Directed by Mark Bolton
Rosebud Memorial Hall, Nepean Highway, Rosebud (Melway: 158 C12)
0428 073 956 or
www.
dandenongtheatre
.org.au
03 5982 2777
November 4–12
Evenings: 7:30 pm
Matinées: November 6 & 12,
2:00 pm
SWAN HILL THEATRE
GROUP
November 4–13
Evenings: 8:00 pm
2:00 pm
November 4–19
Evenings: 8:15 pm
2:15 pm
November 4–19
Evenings: 8:15 pm
2:00 pm
November 10–26
Evenings: 8:00 pm
Matinée: Sunday, 2:15 pm
MORNINGTON CEF
PLAYERS
PERIDOT THEATRE
MALVERN THEATRE
COMPANY
BRIGHTON THEATRE
COMPANY
TWO ONE ACT PLAYS:
The Rack by Louise Neilson
Directed by Trudy Rose
The Great Flood by Andrew R Kelly
Directed by Andrew R Kelly
McCrae St, Swan Hill
JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT
music by Andrew Lloyd Webber; lyrics by Tim Rice
Directed by Natalie Pharaoh & Ashley Cooper
St Peter’s Bellamy Hall, Albert St, Mornington (Melway: 104 D11)
CARAVAN by Donald MacDonald
Directed by Bob Bramble
Unicorn Theatre, Lechte Rd, Mt. Waverley (Melway: Map 61 F11)
THEY’RE PLAYING OUR SONG by Marvin Hamlisch, Carole Bayer
Sager, Neil Simon
Directed by Alan Burrows
29 Burke Rd, Malvern East
KIMBERLY AKIMBO by David Lindsay–Abaire
Directed by Vicki Smith
Brighton Arts and Cultural Centre, Wilson St, Brighton
03 5261 9035
0438 006 274 or
A.H. 5032 9405
5975 5904 or
0408 548 759
1300 138 645
(landlines) or
9898 9090
(mobiles)
1300 131 552
1300 752 126
November 10–December 3
Evenings: 8:00 pm
ELTHAM LITTLE
THEATRE
THE PERILS OF PURITY PIMBLE by Joan Dalgleish
Directed by Kellie Tweeddale and Ian Tweeddale
Performing Arts Centre, 1602 Main Rd, Research (Melway: 22 H1)
9437 1574
Evenings: 8:15 pm
Matinées: Sundays, 2:15 pm
THE BASIN THEATRE
GROUP
JIGSAWS by Jennifer Rogers
Directed by Joe Tuppenney
Cnr Doongalla & Simpson Rds, The Basin (Melway: 66 A6)
www.
thebasintheatre.
org.au or ph
1300 784 668
Mention under WHAT’S ON and AUDITIONS is for VDL Member Groups only
what’s on
SEASON
GROUP
PRODUCTION
BOOKINGS
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
Evenings: 8:00 pm
2:00 pm
Evenings: 8:30 pm,
Matinée: 2:30 pm
THE MOUNT PLAYERS
MOONLIGHT & MAGNOLIAS by Ron Hutchinson
Directed by Sonja Prater
Mountview Theatre, 56 Smith St, Macedon
www.
themountplayers.
com or 1300 463 224
(Tues–Sat)
LILYDALE
‘ALLO ‘ALLO by Jeremy Lloyd and David Croft
ATHENAEUM THEATRE Directed by Nicholas Ryan, assisted by Alan Burrows
COMPANY
39–41 Castella St, Lilydale
9735 1777
November 17–26
Evenings: 8:00 pm
Matinée: Sunday, 2:00 pm
STRATHMORE
EDUCATING RITA by Willy Russell
THEATRE ARTS GROUP Directed by Brett Turner
Cnr Loeman and Napier Sts, Strathmore (Melway: 16 G 10)
9379 5348 or www.
stagtheatre.org/
reservations
Evenings: 8:00 pm
Matinées: Sundays at 2:00 pm
HEIDELBERG THEATRE UNDER MILK WOOD by Dylan Thomas
COMPANY
Directed by Chris Baldock, assisted by Helen Ellis
36 Turnham Ave, Rosanna (Melway: 32 A1)
www.htc.org.au or
9457 4117
Evenings: 8:00 pm
Matinées: Sundays, 5:00 pm
BEAUMARIS THEATRE
9583 6896
Evenings: 8:00 pm
Matinées: November 27 &
December 4, 2:00 pm
Evenings: 8:00 pm
FRANKSTON THEATRE CASH ON DELIVERY by Michael Cooney
1300 665 377
GROUP
Directed by Dan Ellis
Mt. Eliza Community Centre, Canadian Bay Rd, Mt. Eliza (Melway: 105 F1)
November 25–27
Evenings: November 25 & 26,
7:30 pm
1:30 pm
December 6–9
Evenings: 8:00 pm
MOARTZ
ESSENDON THEATRE
COMPANY
KEW COURT HOUSE
ARTS ASSOCIATION
FAWLTY TOWERS by John Cleese & Connie Booth
Directed by Georgie Charles
82 Wells Rd Beaumaris (Melway: 86 G6)
BEYOND A JOKE by Derek Benfield
Directed by Mel De Bono
Bradshaw Street Community Hall, 9 Bradshaw St (off Buckley St),
Essendon West, (Melway: 28 B3)
EBENEZER — A ROCK MUSICAL by Malcolm Sircom
Directed by Annette O’Shea
St Pauls Anglican Grammar School, 46 Cross’s Rd, Traralgon
0422 029 483 or
essendontheatre
company@gmail.
com
THREE AWARD FINALIST ONE ACT PLAYS PERFORMANCES 2011
COMPETITION
The Immortal Game by Ray Wilson
Grace by John Tilbrook
Snap by Cerise deGelder
Directed by Edna Bartlett & Graeme Moore
Kew Court House, 188 High St, Kew
9853 3551 or
kewcourthousearts.
com.au
J;9>9EHD;H
0438 579 987
This month: Prop tips
“Who’s calling, please?”
It would appear that many theatre groups only have one telephone, one from the current time. Consider making sure that the telephone
you use is correct for your production. From these images you can see the changes in the telephone shape and sizes over the years.
auditions
SEASON
AUDITIONS
PRODUCTION
ENQUIRIES
March 9–31
NOVEMBER 3, 7:30 PM
The Mount Players
ART byYasmine Reza
Director: Christina Finch
3M (30-55)
Audition Venue: Mountview Theatre, 56 Smith St, Macedon
Peridot Theatre
SAME TIME NEXT YEAR by Bernard Slade
Director: Nick Walter
1M, 1F
Unicorn Theatre, Mt Waverley Secondary College, Lechte Rd, Mt Waverley
Strathmore Theatre Arts Group
THE MOUSETRAP by Agatha Christie
Director: Drew Mason
5M (2 × 20s, 1 × 30s, 1 × 40s, 1 × 50s), 3F (2 × 20s, 1 × 50s)
Strathmore Community Hall, cnr Loeman and Napier Sts, Strathmore
THE LION IN WINTER by James Goldman
Director: Karen Wakeham
5M (4 × late teens–20s, 1 × 50s), 2F (1 × 20s, 1 × 50-60)
Heidelberg Theatre Company, 36 Turnham Ave Rosanna (Melway: 32 A1)
Malvern Theatre Company
MAN ALIVE by John Dighton
Director: Deborah Fabbro
7M (2 × 20s, 2 × 30s, 2 × 40s, 1 × 60s), 7F (2 × 20s, 3 × 30s, 2 × 40s)
Malvern Theatre, 29 Burke Rd, Malvern East
Williamstown Little Theatre
MOONLIGHT AND MAGNOLIAS by Ron Hutchinson
Director: Alan Burrows
3M (30–55), 1F (30–55)
Williamstown Little Theatre, 2–4 Albert St, Williamstown
Eltham Little Theatre
DON’T DRESS FOR DINNER by Marc Camoletti
Director: Jonne Finnemore
3M (30–40s), 3F (1 × 20s, 2 × 30–40s)
Eltham Performing Arts Centre, 1603 Main Rd, Research
Lilydale Athenaeum Theatre Company
GLORIOUS by Peter Quilter
Director: Doug Bennett
2M (1 × 30s, 1 × 60s), 3F (2 × 40s, 1 × 60s)
Lilydale Athenaeum Theatre, Castella St, Lilydale
Brighton Theatre Company
ALBERT NOBBS by Gordon Steel
Director: Eric Heyes
1M (60s), 3F (60s)
Brighton Theatre, cnr Wilson and Carpenter Sts, Brighton
The 1812 Theatre
I HATE HAMLET by Paul Rudnick
Director: John Mills
3M (20-30s), 3F (20–30s)
The 1812 Theatre, 3 Rose St, Upper Ferntree Gully
CARAVAN by Donald Macdonald
Director: Dawn Hinrichsen
3M (40s), 3F (1 × 20s, 2 × 40s)
Bradshaw Street Community Hall, 9 Bradshaw St, Essendon West
5426 3256 or
0438 542 613
NOVEMBER 5, 10:00 AM
February 3–18
NOVEMBER 6, 6:00 PM
March 1–10
NOVEMBER 20, 5:00 PM
February 9–25
March 15–31
March 7–24
May–June
DECEMBER 5, 7:00 PM
March 15–24
DECEMBER 6, 7:30 PM
DECEMBER 8, 7:30 PM
0412 230 676
9382 6284
karenwakeham@
y7mail.com
0416 141 838 or
orbbaf@ozemail.
com.au
0412 077 761
9819 7420 or
jonne2@bigpond.
com
9739 5947 or
0418 364 128
9772 5820 or
0449 905 721
9752 1941
0416 073 649
J;9>9EHD;H
Stage terms: Part One
Apron
The portion of the stage or playing space that is downstage of the proscenium arch. In traditional proscenium-style theatres, acting on
the apron was a big “no-no” because it violated the stage picture being created by the proscenium arch. Thus, many older theatres have
very shallow aprons. Nowadays, though, directors can’t get enough of having their actors as close to the audience as possible, despite
how uncomfortable it makes some audience members. This is all done under the umbrella of ’intimacy’ and we all know how much
artists love that stuff. Sometimes the apron is referred to as the “Forestage”.
Arbor
Part of a fly system. A device mounted in one of the wings, which is connected to the lift lines at the opposite end from the batten. Stage
weights are stacked on the arbor to balance the load suspended from the batten. In the case of a counterweight fly system, a rope hand
line is connected to the top of the arbor, passes sequentially through the head block and tension block, and is terminated to the bottom
of the arbor, forming a loop. This allows an operator to pull the rope and cause the batten to raise or lower. Arbors are guided either by
steel tracks or wire ropes (aircraft cable).
Backdrop
Also known as a “Drop”. A large curtain, which hangs upstage and hides the back wall of the theatre from the audience. Backdrops are
painted to resemble some sort of scene or abstract image. Backdrops are often used in place of a blackdrop when the blacks (see below)
are being used.
Batten
Part of a fly system. A horizontal pipe, supported by lift lines, which is easily raised and lowered; even while holding a substantial amount
of weight.
Beam
The name for a particular place where lighting units are hung in a theatre. A beam is a horizontal pipe hanging downstage of the
proscenium. It gets its name from the many theatre buildings that hide the beam pipe in a piece of architecture that, while fake, looks
like something which is supporting the ceiling. Beams are numbered on a light plot consecutively beginning with the pipe closest to the
proscenium arch. (Example: “Hang this unit on the second beam FOH.”)
Blackout
Removing ALL light from the stage as quickly and suddenly as possible.
Blacks
The blacks are a collection of stage drapery; usually made of black velour. These curtains hang on each side of the stage, above the
stage, and upstage of the playing space for the purpose of masking the wings, flys, and upstage wall respectively. Blacks masking
the flys are known as “Borders”. Blacks masking the wings are known as “Legs”. “Borders” are also referred to as “Teasers” and “Legs” are
then called “Tormentors”. If you don’t want to come across as stupid when talking to anal-retentive techies like myself, never mix these
pairs. “Borders” go with “Legs” and “Teasers” go with “Tormentors”. Any other combination is considered very bad and might lead to the
undoing of creation as we know it. The upstage curtain is known as a “Blackdrop”. Note that “Blackdrop” is spelled with an “L”. A “Backdrop”
(no ”L”) is a completely different curtain. When a complete set of blacks is hung, the audience should ideally not be able to see any
backstage place.
Boom
The name for a particular place where lighting units are hung in a theatre. A boom is a vertical pipe standing anywhere onstage. Booms
are numbered on a light plot consecutively in each direction (upstage or downstage) beginning with the pipe closest to the proscenium
arch. (Example: “The dancer bent the shutter on the stage left boom #2 shin-buster.”) See also “Beam”.
DONATING TO THE VDL
kew court house
A New Performance Space
The Victorian Drama League is a Registered Cultural
Organisation approved by the Australian Government and
Taxation Office.
now available
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.
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
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.
reviews
James McLaren, Eva Torkkola, Sam
Bye, Jessica Kelly, Sam O’Brien (rear)
and James Ao in Ballarat National
Theatre’s The Mousetrap. Photo by
Brian McClelland.
THE MOUSETRAP
by Agatha Christie
Ballarat National Theatre
Directed by Peter Nethercote
Reviewed By Deborah Fabbro – October 7, 2011
Agatha Christie’s play The Mousetrap started as a short radio play
Three Blind Mice which was broadcast in 1947. It was adapted
for the stage and premiered in the West End on 25 November
1952 at New Ambassadors Theatre. It transferred to St Martin’s
Theatre in 1974 where it continues to play, making it the longest
continuously running play in history. I saw it nearly 20 years ago
so was interested to revisit the play and see if it has ‘stood the test
of time’.
When Agatha Christie wrote the play, she gave the rights to her
then nine-year-old grandson as a birthday present. Very strict
controls on the issuing of performing rights over the years means
there have been only a few provincial runs in Canada and the US.
To celebrate the coming 60th anniversary year, amateur rights have
been released with discretion. Ballarat was one of the companies
fortunate enough to secure them.
Director, Peter Nethercote, stated that “over the years, in London,
attempts have been made to update the play” but he wisely
decided to keep it set in 1952. His set design, based on the
London set if my memory serves me correctly, was beautifully
executed and had a rich, opulent feel to it. I would have liked to
have seen flickering lights in the fireplace; otherwise the lighting
design by Stephen Sharpe enhanced the production. Costuming,
particularly the women’s, had the feel of the period but some of
the men’s suits did not. The ‘snow’ on the coats of the characters as
they arrived was excellent but I am amazed that Sergeant Trotter
could ski anywhere on authentic looking skis that lacked bindings!
A wonderful musical version of the nursery rhyme “Three Blind
Mice” formed the opening music, and suitable sound effects
throughout set the scene nicely.
So, to the plot; it is the first day of business for Mollie (Eva
Torkkola) and Giles (Sam O’Brien) at their country guesthouse,
Monkswell Manor. They are too concerned about the blizzard
and not having enough coal, to really notice the news on the
wireless of a murder that has taken place in London. We see their
four guests arrive, one at a time so we can be introduced to them.
Christopher, a neurotic young man was delightfully hyperactive
as portrayed by Blake Fiegert. Scarlett de Masson gave a strong
performance as the curmudgeonly Mrs Boyle who is ready to find
fault with everything. James McLaren was suitably military as
Major Metcalf. The fourth guest, Miss Casewell, a young woman
who is just a little bit mannish and aloof, was nicely portrayed by
Jessica Kelly. An unexpected guest, Mr Paravicini, arrives after his
car is caught in a snowdrift. In the tradition of whodunits, none
of the characters are quite what they seem. The last to arrive is
Sergeant Trotter (Sam Bye) who announces that the murderer is
at large. When one of the guests is killed, everyone realises that
the murderer is amongst them. Typically, they are snowed in, the
telephone lines have been cut and there is no communication to
the outside world.
As one would expect from Agatha Christie, the play has a twist at
the end. The tradition is that one of the actors steps forward at the
conclusion of the curtain call and asks the audience not to reveal
the identity of the murderer so I am certainly not going to reveal
it here.
So, is the play a little creaky? Are the characters a little
stereotypical? Perhaps, but Peter Nethercote and his cast and crew
managed to imbue a warmth and grace into the piece and after so
many years I enjoyed revisiting it.
I must congratulate BNT for the wonderful foyer display, which
included a history of The Mousetrap, information about Agatha
Christie and her writings, and her two most famous characters. It
was also most interesting to read the correspondence between
BNT and the actors in the current London production.
DON’T TAKE IT AS GOSPEL
Written & Directed by Matt Caton
(By arrangement with jacksontrainfence)
at Melbourne Fringe Festival
Old Council Chambers, Trades Hall, Carlton
Reviewed by Graeme McCoubrie –September 30, 2011
Times are a-changing where we are seeing community theatre
facing many challenges. In many instances gone are the days of
a viable venue, affordable royalties, manageable staging costs
and indeed often the continued loyalty of cast and crew. With the
increase in electronic and social media, people move around fast
and local Community Theatre has to move with it or else shrink
into obscurity.
To this end, I give DTC full credit for venturing from their home
base to perform a locally written work as a part of the Melbourne
Fringe Festival. Would this have happened 10 years ago?
Matt Caton’s satirical work certainly hit a humorous if not slightly
irreverent note — all acceptable in today’s world. While the
audience number was low, the enthusiasm and power of the cast
was high.
Take four out of work writers, Mathew, Mark, Luke and John, a
struggling author/editor with a direct link to God and a money
hungry publisher and then throw in Mary Magdalene, Mary and
Joseph, Judas Iscariot and you have the story of Don’t Take It As
Gospel.
The four unemployed writers, who are also Disciples of a person
named Jesus, wander into a pub and, over a drink, contemplate
entering a competition for writing a contemporary work on the
events of the day that just happened to be for a new book called
the Bible. They each decide to write their own view on life that
would include interviews with key people of the day, such as Mary
Magdalene, Mary and Joseph.
Each of the four writers had memorable moments and they
worked well together at all times. Rhys Martin as Mark was a great
support to Daniel O’Kane as Matthew and they played several
strong satirical pieces together. Michael Barrack played John as
a highly effeminate Disciple as opposed to the quiet influence of
Luke played by Jaimie McAllister.
Kym Davies played a provocative Mary Magdalene who has had
a relationship with Matthew which he wanted to continue. Their
scene together in his attempt for continuance was more poignant
due to the obvious age difference of the two cast.
VERBATIM
by Miranda Harcourt & William Brandt
INH Productions
Directed by Colin Rochford
at Melbourne Fringe Festival
Old Council Chambers, Trades Hall, Carlton
Reviewed by Graeme McCoubrie – October 7, 2011
This is INH Production’s second show after they formed from a
strong association with Hartwell Players and what better way
to establish themselves but to be part of the Melbourne Fringe
Festival. In choosing this short work of some 50 minutes it did
however only give one person from the company the opportunity
to perform and there was limited opportunity for others to be
involved in staging, technical and out front.
Verbatim is a strong, powerful and somewhat confronting work
as it lays before us details of a violent crime and the effect it had
on six people in two families, with all the family members being
played by Aynslie Watson. In writing this piece William Brandt,
along with Miranda Harcourt, visited a dozen prisons and spoke to
some 40 people who had committed murder and then they spoke
to members of their families.
From that we have a five character monologue that allowed
Aynslie Watson to move from one persona to another with a
change of voice and an item of costume.
With a thrust stage central in the old Trades Hall Council Chamber,
a chair was forefront for lifer Aaron Daly; a bean bag for his
girlfriend, the mother of his children; another chair for his sister;
an upstage rocking chair for his elderly mother and opposite, a
lectern for the husband of the murder victim. All stage furniture
was virtually only a metre apart with an item of costume ready for
Aynslie to strengthen the image of the character.
The work revolves around Aaron Daly who started along his
criminal path at the age of 13 with shop lifting then leading to
drugs, drinking and aggravated burglary. Dressed as Aaron, in a
hoodie and resting backwards on the central downstage chair we
hear about the events of his crimes and of his stays in jail. Early in
his twenties he commits murder which he laconically says, “I didn’t
mean to kill, I had a baseball bat, but she followed me out of the
house”, from a burglary.
Jamie McAllister, Daniel O’Kane, Michael Barrack and Rhys Martin in
Dandenong Theatre Company’s Don’t Take It As Gospel. Photo by Tim
Blencowe.
The author/editor Colin Morley was effervescent at all times and
had many humorous phone conversations with the unseen God
(in the roof above the Council Room). He also played a hard-ofhearing and confused Joseph opposite Mary played by Latecha
Cadle. In her role as Ester Wycliffe the publisher, Latecha was
commanding and direct with the author/editor.
Laura Ireland played Hanna, the dutiful receptionist to the author/
editor, who had the task of judging the entries to the competition
down to the last four. However an entry from Judas Iscariot,
played by Michael Voss, was deemed controversial and caused
great angst between the publisher, the author/editor and God.
With much acclaim the final four chosen works turned the corner
for the unemployed writers as their works obviously became the
first four Gospels of the New Testament, a best seller of all times,
the Bible.
There was a very simple set on a raised thrust stage comprising
of a central table with a change of seating for the various scenes
from the bar to the office. All done very effectively and well
supported by lighting and sound effects.
We hear from his girlfriend “I don’t know what to tell the kids”
slouching on the beanbag. Then his sister, who is trying to hold
the family together, the mother and Aaron’s other four siblings,
takes the mother May Daly to visit Aaron in remand. She didn’t
want to know what he had done and she doesn’t ask questions of
Aaron for, “all I ever get is lies”.
May Daly in her rocking chair was a forlorn character and was not
as well portrayed as the others. Perhaps the scripting faltered here
as we were more moved by Robert, the husband of the murder
victim, Gail. Robert from the lectern spoke as if he was delivering a
eulogy and this was a significant piece of work.
There were some voiceovers to give strength and clarity to some
of the events but the main focus was on Aaron and Aynslie
portrayed him extremely well, leaving us with a person who was
unapologetic about his life and unconcerned about the hurt
he left behind. He had a hazy recollection of the details of the
murder he committed and though towards the end of the work he
realised the enormity of his crime, he showed little remorse.
Aynslie moved from one character portrayal to the other with
ease, although at times the script demanded only a few short
lines of a character before having to hastily moving on to the next.
Not only demanding for the actor but also for us in the audience
having to keep pace with the story and characters.
An interesting and demanding piece of theatre.
It was a refreshing work, well executed by Dandenong and well
suited to the Melbourne Fringe Festival genre. I hope that it will
be picked up by other companies. As a locally written work, it
deserves more performances.
Don’t forget, you can now check
out our recent additions to the
Library on the Website
from the shelves
ELEVEN LITTLE GEMS
A Collection of Ten Minute
Plays — 2011
By Various
Eleven Little Gems is the culmination of the Little
Gems 10 Minute Play Festival. This is an annual showcase of
creative stage writing, in short form, initiated and promoted by
Gemco Players Community Theatre.
Includes:
Flight Path, Secret Frog Business, Coda, Unlocked, Vermillion, Let’s
Do Lunch, Sacked, Grass Roots, The Dream, Mail Order Muse and
Presence
SCARLET O’HARA AT THE
CRIMSON PARROT & LET
THE SUNSHINE
By David Williamson
Scarlett is a 36-year-old waitress who lives with her
mother, has no boyfriend, and spends too much
time watching old romantic movies. As Scarlett drifts deeper
into her reveries of Clark Gable, Cary Grant, Errol Flynn and
Humphrey Bogart, she takes her place as the heroine in each of
their movies. Let the Sunshine asks what happens when people
of widely different political views are forced to co-exist. Toby, a
maker of hard-hitting documentaries, flees Sydney with his wife
after a blow up with the press. He arrives at his old childhood
haven only to find the simple town has been transformed into a
playground for the wealthy and his old friend has become married
to a wealthy property developer. The scene is set for a vintage
Williamson comedy.
WRONG WINDOW
By Billy Van Zandt and Jane Milmore
Van Zandt & Milmore pay tribute to Master
of Horror Alfred Hitchcock, with this comedy
whodunit. Off-and-on New York couple Marnie
and Jeff enter an even more complicated phase of
their relationship when they think they spy their
cross-courtyard neighbor do away with his wife. After they draw
their torn curtain, the lady vanishes, and suspicion places murder
beyond a shadow of a doubt. The bumbling witnesses sneak into
their neighbor’s apartment — 39 steps away — and the fun begins.
Among multiple door-slammings, body-snatchings, and a frantic
flashlight chase scene, two questions remain: Who killed Lila
Larswald? And… if she’s not dead … then who is? The crazy farce
plays out on a shadow-box set that allows the audience to be
present in one apartment, while viewing the action in its mirrorimage neighbouring unit across the way. “Take the money and run
to this window before it closes!” — Two River Times.
THE TWITS
By Roald Dahl
In Dahl’s typically outre outing, the repulsive,
misanthropic Mr. and Mrs. Twit become the target
of revenge by the Mugglewump monkeys, who
have finally had enough. Set in a circus ring,
which offers great opportunities for a spectacular
production, this adaptation by David Woods has the flair to bring
Dahl’s ideas to life.
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theatrecraft
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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 (until November 7; see Page 1 for opening hours changes). Mail orders welcome.
VOICEWORK
VOICE AND SPEECH IN
THE THEATRE
6th Edition
J. Clifford Turner
$35.95
A practical handbook to help the actor develop a
clear and powerful voice. It explains the theory and recommends
proven exercises to ensure improvement in voice and speech. This
is a classic text regarded as essential reference for anyone in voice
studies.
This new edition is edited by Jane Boston who examines the social
and artistic context for Turner’s teachings and demonstrates how
they are still relevant today. There are also updated exercises taken
from the Alexander Technique and contemporary Yoga practices.
THE ACTOR SPEAKS:
VOICE AND THE
PERFORMER
By Patsy Rodenburg
$40.50
From the best selling author of The Right To Speak
and The Need For Words comes this essential guide to voice work.
Beginning with what every first-year acting student faces in class
and ending with what leading professional actors must achieve
every night on stage, Patsy Rodenburg’s celebrated work as one of
the world’s foremost voice and acting coaches is fully revealed in
this thoughtful and inspirational book about acting.
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.
Foreword by Judi Dench.
THE VOICE BOOK
By Michael McCallion
$25.15
Babies have no problem in vocalising; they cry, loud
and long. But as we learn how to speak language, a
highly intellectual activity, we increasingly depend
on speech and body language to express what
we wish to communicate. This is fine for ordinary
conversation but there are times for most of us when we need to
be able to use our voices to present ourselves in a wider context.
Most people are vocally better equipped than they know. Usually
some unconscious habit gets in the way. The Voice Book shows
you simply and practically what is going wrong - and how to
put it right. Whether you are a professional or amateur actor,
classical or popular singer, politician, public speaker, or need to
present for business, church or college, The Voice Book will help
you to discover how to use your voice freely, powerfully and with
pleasure.
BUZZ BUZZ!
Playwrights, Actors and
Directors at the National
Theatre
By Jonathan Croall
$40.50
Containing over a hundred interviews conducted over the last
fifteen years with leading directors, actors and playwrights at the
National Theatre, London, Buzz Buzz! is a fantastic compendium
that offers unrivalled insight into the work and practice of the best
theatre talent.
The first section features interviews with twenty-six leading
playwrights about their work, including Tom Stoppard, Alan
Bennett, Michael Frayn and Pam Gems. The second section
examines how writers and directors have adapted works for the
National’s stage, including recent hits War Horse and Coram Boy.
The final section features actors and directors discussing their
work on plays from across the international spectrum, including
Simon Russell Beale on Hamlet, Diana Rigg on Brecht’s Mother
Courage, and Kenneth Branagh on Mamet’s Edmond.
Filled with behind-the-scenes accounts of National Theatre
productions of the last 15 years, Buzz Buzz! is the perfect guide for
students, teachers and anyone interested in the staging of classical
and contemporary drama.
ACTORS’ AUDITION
SPEECHES
By Jean Marlow
$26.95
Finding good, interesting audition pieces is a
demanding and difficult process for actors. Jean
Marlow has brought together 50 selections, the
majority of which have never appeared in an audition book
before. The pieces, which include modern and classical, have been
selected because most of them require or can be performed in
a particular accent. Examples of the range of parts included are
American, Asian, Jamaican, Irish, South African, Italian, Scottish,
Welsh, Newcastle and Yorkshire, covering all ages. Actors can find
a speech to suit their particular voice or can show their range
by selecting a speech with a contrasting accent. There is an
introductory section showing how to prepare and give your best
performance at an audition. In addition there are comments from
directors giving their advice on how to audition successfully.
Jean Marlow, with her co-director Eamonn Jones, has run The
Actors’ Theatre School in London for several years and is an
experienced actress and teacher. All the selections in this book
have been tried and tested by her students.
Script Donation
Thank You
MURWILLUMBAH THEATRE COMPANY
Thankyou to Murwillumbah Theatre Company for their
generous donation of four sets of plays to our library.
ADVERTISE IN THEATRECRAFT!
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Enquiries to: [email protected]
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FLYER INSERTS:
Have a Flyer inserted in Theatrecraft to advertise your next
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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/
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AUDITION & WHAT’S ON NOTICES
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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 10
November 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
Website: www.theatrecraft.org.au
PHONE/FAX: 9663 4222
Email: [email protected]
[email protected]
[email protected]
[email protected]
[email protected]
Vice President: Edna Bartlett
Acting Secretary: Richard Burman
Acting Treasurer: Edna Bartlett
General Committee: Andrew McMillan
Awards Sub-committee convenor:
Jill Edwards
Office Staff:
Kym Davies (Manager)
David Crothers
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]
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November 2011 - Victorian Drama League

Transcription

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