From the dying embers of hit 60's rockers The Move, the Electric Light Orchestra stands as one of the most beloved bands of the 70's and 80's. Despite numerous lineup changes, the core of the band was the song writing, producing and lead vocals of Jeff Lynne (also no slouch with a guitar either).
Although the band officially broke up in 1986, there have been some comebacks in 2001 and now a new album in 2015 ("Alone in the Universe"). It's time to look at how the catalogue of ELO albums rank (at least in my opinion)
13) "Secret Messages" (1983)
Lynne's idea was for a double album but thankfully, he realised that there was not enough material to work with. Despite that, this album is confused, and swamped in layers of cheesy 80's synths. There are undoubted highlights but as a whole, this album is very messy.
Highlights: "Secret Messages", "Four Little Diamonds", "Rock and Roll Is King"
12) "Zoom" (2001)
The comeback album- but many would argue that it hardly deserves the ELO moniker as only Richard Tandy appears on this album from the Lynne's group of the 70's. Clearly, these people don't realise what a revolving door the band was even back in the 70's. Nevertheless, it's hard to shake the feeling that these songs are nowhere near Lynne's best. It is notable that it is one of the last albums to feature George Harrison, which bumps this just off the bottom rung.
Highlights: "Alright", "Easy Money", "Lonesome Lullaby"
11) "Balance of Power" (1986)
The final album by the band before their initial breakup. Lynne is clearly exhausted and keen to move on- along with the remaining band mates. This album really feels like a contractual obligation (which it was). That being said, every now and then, Lynne still shows that he can craft a good tune or two.
Highlights: "Heaven Only Knows", "So Serious", "Calling America"
10) "No Answer" (1971)
With Roy Wood and Bev Bevan, Lynne shaped the debut album by the band but, by his own admission, they had no idea what they were doing. Roy Wood has a ball on his own tracks playing every instrument he can get his hands on and the results are fairly out there. There is a charm to this album, no doubt, but against what would come from this band, it seems experimental and raw.
Highlights: "10538 Overture", "Mister Radio", "Whisper In The Night"
9) "Xanadu" (1980)
This album is produced by Lynne (who wrote all the songs on the second half of the album and produced the entire album) and features the rest of ELO in sparkling form. Olivia Newton-John brings some much needed life to this collection and some of her finest vocal work. Whilst the film is eminently forgettable, the soundtrack is not.
Highlights: "Magic", "All Over The World", "Xanadu"
8) "ELO 2" (1973)
With the departure of Wood, Lynne could focus on making an album without the need to delegate. Although only five tracks (the shortest track is just a shade under 7 minutes), this is the album where the ELO would really start to germinate. Some outstanding playing from the members plus a top drawer cover of a Chuck Berry classic make this one of the better sophomore albums around.
Highlights: "Mama" "Roll Over Beethoven"
7) "On The Third Day" (1973)
Getting rid of some of the excesses of the previous album meant leaner, tighter song writing. As a whole, the album meanders a fair bit and never really settles despite a lot of notable tracks on it. What's clear is how much growing Jeff Lynne has done from album one to this one (and the trajectory that would ensue).
Highlights: "Ocean Breakup/King of the Universe", "Showdown", "Ma-Ma-Ma Belle"
6) "Discovery" (1979)
Keyboardist Richard Tandy referred to this as "Disco Very"- and he's not far off the mark. This is most definitely an album of it's time. The production is very much of the day but the songs are mesmerising. This contains one of their greatest hits and it's clear that despite the dated nature of the album, the entire band is having a ball playing this material
Highlights: "Shine A Little Love", "The Secret Diary of Horace Wimp", "Don't Bring Me Down"
5) "Face The Music" (1975)
It's hard to separate the top 5 in this list, but this album is just a shade lower than the others because there is still an element of experimentation of the sound. This album introduced Kelly Groucutt to the line-up and that brought about some song writing relief to Jeff Lynne. This is an amazing album with some fantastic material that remain staples of the ELO set to this day.
Highlights: "Evil Woman", "Strange Magic", "One Summer Dream"
4) "Time" (1981)
The last great ELO album. This album truly embodies the story telling nature of the band and Lynne's desire to do concept albums (or at least albums with a unifying theme). There is nary a dud track on this one. The range of emotions explored on this album rival those from more well-known songwriters like Springsteen and Dylan.
Highlights: "Twilight", "21st Century Man", "Hold On Tight"
3) "Eldorado" (1974)
Taking his writing and producing to the next level, Jeff Lynne delivers an absolute masterpiece of an album making full use of a large string section and choir. The songs are exquisite as are the performances and it all flows so effortlessly.
Highlights: "Can't Get it Out Of My Head", "Boy Blue", "Eldorado"
2) "Out Of The Blue" (1977)
One of the finest and most consistent double albums to come out of the 70's. Inspired by his surrounds in Switzerland, Jeff Lynne carried on where his previous album left off. The magic "Concerto For A Rainy Day" (side 3 on the original lp) is a crowning jewel in the ELO canon. Whilst there might be a bit of chaff, it never feels bloated like most double albums. Between this and the number one album, there is nary a whisker...
Highlights: "Turn To Stone", "Stepping Out", "Mr. Blue Sky"
1) "A New World Record" (1976)
The absolute peak of ELO output. Every facet of this album is perfect. If "Out Of The Blue" seems a bit wayward at times (some people do believe this....) then this album is right for you. Not a dud track to be seen anywhere and Lynne at the height of his creative powers. Once heard, you will never be the same again...
Highlights: "Rockaria", "Living Thing", "Do Ya"
Thursday, October 8, 2015
Friday, August 21, 2015
8 Reasons You Should Buy Episodes 1-10 Of "I Love Green Guide Letters"
Steele Saunders' podcast "I Love Green Guide Letters" recently released its 181st episode. Since the show began in late 2011, Saunders has become quite the podcaster with not only this one but another Star Wars related podcast (the immensely fun Steele Wars podcast) as well as a number of appearances on many high profile podcasts like TOFOP, Dum Dum Club and Comedy Film Nerds (amongst others).
In honour of this glorious achievement, Steele went back and has released the first ten episodes in a special bundle for a tiny cost (more on that later). Here's 8 reasons (in no particular order) why you NEED to get this package.
The Rawness
Like any show in its infancy, ILGGL, sounds very different in these early episodes to what it has become today- and that's for a number of reasons. Saunders had yet to develop a number of the vocal quirks (such as the high pitched voice used for reading the letters) and catch phrases ("I dooooooo love those green guide letters!") that the show has become known for. Not only that, but as the podcast medium was still very much in its infancy, many of his guests at the time were not entirely comfortable with exactly what they had to do (Luke McGregor famously thought the show was about environmental tips!). Yet despite this, these episodes are rarely dull, in fact there's an energy that crackles through all ten episodes that I'm not sure has carried on through to today's episodes.
Before They Were Famous.....
Whilst names like Charlie Pickering, Dave O'Neill and Lawrence Mooney were well known at that stage to the general public, comedians like Luke McGregor, Ronnie Chieng and Tegan Higginbotham were not. Nowadays, all three are regulars on TV and are pulling in massive crowds to their live shows. If podcasts in general have done nothing else, it's help young comedians raise their profiles considerably- and that includes Saunders himself.
Ronnie Chieng
Ronnie's appearance in episode 2 is a fascinating study in how a comedian finds what Justin Hamilton would call their "comedic voice". Compare the Ronnie of this episode and his appearance on a now legendary episode of the "Steele Wars" podcast recorded in April of 2015 and it is like chalk and cheese. In his first appearance he is more happy, laid back and chilled and even mentions how little he knows about technology. Jump forward and you have an aggressive, angry comedian yelling at Saunders for most of the podcast about the Star Wars Expanded Universe and mentioning every little internet trick he knows. It's clear this is the Ronnie that people love and appreciate, but it all begins in that early episode of ILGGL....
Brevity
It's interesting that many of these early episodes run between 40 and 60 minutes (the shortest is episode 2 at a mere 34 minutes and the longest is 78 minutes for episode 9). There was a single mindedness about these episodes that Saunders admits was not great. Start the show, tiny bit of banter and then plow on in to the letters. These days it is not uncommon for the opening banter to reach silly proportions (in one extreme case it was an hour before they got to the first letter!). Personally, I think Saunders has gone a little too much the other way nowadays (but I suspect I'm in the minority on this one) but the latter batch of these episodes gets it just about right.
The Q and A episode
As a bonus, Saunders waxes lyrical about these early days in a newly recorded episode that comes as a bonus episode with the bundle. He talks about many of the issues that he believes he had in those days and how his mental processes in the way he works the show have changed over the years. It's a great insight into how one man and a microphone can create an environment and mythos over a few short months. Even by the end of episode 10, Saunders is already thinking about what works and what doesn't. It's a great peek "behind the curtain".
Mooney vs Toadfish
Episode 9 with Lawrence Mooney and Kelly Fastuca is the definition of a "classic" episode. This is the episode that just keeps on giving. Mooney has always been at home in the uncensored and unbridled world of podcasting and nearly every episode of whatever show he's on is worth a listen, but this one is a priceless gem. It all begins with a letter about the soapie "Neighbours" and quickly spirals out of control with Mooney letting fly on the newly skinny Ryan Maloney (Toadfish). "When toadfish got on the Lite and Easy ads and got on the trampoline with his kids," gripes Mooney"and a lot slimmer than he usually is... you think you know what? die in a house fire c***". but he's not finished... "don't dare evolve the character into your lifestyle choice you f*****g selfish, retarded tool!". It's not just the words but the almost deadpan, monotone delivery of it that makes you wonder just how angry he is.
It's those comments that would finally payoff a few years later when Maloney himself appeared on the program and Sam Simmons rang Lawrence from the stage to get him to repeat those comments. Mooney would make so many wonderful appearances on this show but this one was his first and one of his best.
Supporting local talent
Saunders' years of experience on the Melbourne comedy scene gave him access to the best comedians around the traps- most of whom were unknown outside of fringe festivals and comedy nights. Reading the list of guests now, nearly all of them have found a higher degree of exposure (like the three I mentioned earlier). Whilst Saunders has always enjoyed having high profile, international guests, it's the local comedians who really give the show its essence and it all starts in this batch. What's great is that Saunders will put the more well known comedian alongside a lesser known one (something that continues to this day) like Josh Earl (relatively unknown at the time) put alongside the high profile Charlie Pickering or Xavier Michelides alongside the veteran Justin Hamilton. Talk to any of the comedians and they'll tell you that a large part of their current audiences have come to them through their appearances on podcasts like this.
It's really cheap!
$2.50. That's all he asks for. 10 hours of entertainment for less than the cost of a coffee in a trendy Melbourne cafe (or even a crappy Melbourne cafe). You can pay more if you want though. It's a great way to support the podcasting world which runs on a LOT of goodwill of its listeners. As a fervent listener, I always try and support Steele when he's in Adelaide doing live shows, or buy merch but something like this is an absolute no brainer for me. Even if you've never heard the show before, it's a dirt cheap way to get into it (if getting the latest episodes free is too hard for you). Support the podcasts you listen to, support the Australian comedy scene and give a little bit of loose change.
In honour of this glorious achievement, Steele went back and has released the first ten episodes in a special bundle for a tiny cost (more on that later). Here's 8 reasons (in no particular order) why you NEED to get this package.
The Rawness
Like any show in its infancy, ILGGL, sounds very different in these early episodes to what it has become today- and that's for a number of reasons. Saunders had yet to develop a number of the vocal quirks (such as the high pitched voice used for reading the letters) and catch phrases ("I dooooooo love those green guide letters!") that the show has become known for. Not only that, but as the podcast medium was still very much in its infancy, many of his guests at the time were not entirely comfortable with exactly what they had to do (Luke McGregor famously thought the show was about environmental tips!). Yet despite this, these episodes are rarely dull, in fact there's an energy that crackles through all ten episodes that I'm not sure has carried on through to today's episodes.
Before They Were Famous.....
Whilst names like Charlie Pickering, Dave O'Neill and Lawrence Mooney were well known at that stage to the general public, comedians like Luke McGregor, Ronnie Chieng and Tegan Higginbotham were not. Nowadays, all three are regulars on TV and are pulling in massive crowds to their live shows. If podcasts in general have done nothing else, it's help young comedians raise their profiles considerably- and that includes Saunders himself.
Ronnie Chieng
Ronnie's appearance in episode 2 is a fascinating study in how a comedian finds what Justin Hamilton would call their "comedic voice". Compare the Ronnie of this episode and his appearance on a now legendary episode of the "Steele Wars" podcast recorded in April of 2015 and it is like chalk and cheese. In his first appearance he is more happy, laid back and chilled and even mentions how little he knows about technology. Jump forward and you have an aggressive, angry comedian yelling at Saunders for most of the podcast about the Star Wars Expanded Universe and mentioning every little internet trick he knows. It's clear this is the Ronnie that people love and appreciate, but it all begins in that early episode of ILGGL....
Brevity
It's interesting that many of these early episodes run between 40 and 60 minutes (the shortest is episode 2 at a mere 34 minutes and the longest is 78 minutes for episode 9). There was a single mindedness about these episodes that Saunders admits was not great. Start the show, tiny bit of banter and then plow on in to the letters. These days it is not uncommon for the opening banter to reach silly proportions (in one extreme case it was an hour before they got to the first letter!). Personally, I think Saunders has gone a little too much the other way nowadays (but I suspect I'm in the minority on this one) but the latter batch of these episodes gets it just about right.
The Q and A episode
As a bonus, Saunders waxes lyrical about these early days in a newly recorded episode that comes as a bonus episode with the bundle. He talks about many of the issues that he believes he had in those days and how his mental processes in the way he works the show have changed over the years. It's a great insight into how one man and a microphone can create an environment and mythos over a few short months. Even by the end of episode 10, Saunders is already thinking about what works and what doesn't. It's a great peek "behind the curtain".
Mooney vs Toadfish
Episode 9 with Lawrence Mooney and Kelly Fastuca is the definition of a "classic" episode. This is the episode that just keeps on giving. Mooney has always been at home in the uncensored and unbridled world of podcasting and nearly every episode of whatever show he's on is worth a listen, but this one is a priceless gem. It all begins with a letter about the soapie "Neighbours" and quickly spirals out of control with Mooney letting fly on the newly skinny Ryan Maloney (Toadfish). "When toadfish got on the Lite and Easy ads and got on the trampoline with his kids," gripes Mooney"and a lot slimmer than he usually is... you think you know what? die in a house fire c***". but he's not finished... "don't dare evolve the character into your lifestyle choice you f*****g selfish, retarded tool!". It's not just the words but the almost deadpan, monotone delivery of it that makes you wonder just how angry he is.
It's those comments that would finally payoff a few years later when Maloney himself appeared on the program and Sam Simmons rang Lawrence from the stage to get him to repeat those comments. Mooney would make so many wonderful appearances on this show but this one was his first and one of his best.
Supporting local talent
Saunders' years of experience on the Melbourne comedy scene gave him access to the best comedians around the traps- most of whom were unknown outside of fringe festivals and comedy nights. Reading the list of guests now, nearly all of them have found a higher degree of exposure (like the three I mentioned earlier). Whilst Saunders has always enjoyed having high profile, international guests, it's the local comedians who really give the show its essence and it all starts in this batch. What's great is that Saunders will put the more well known comedian alongside a lesser known one (something that continues to this day) like Josh Earl (relatively unknown at the time) put alongside the high profile Charlie Pickering or Xavier Michelides alongside the veteran Justin Hamilton. Talk to any of the comedians and they'll tell you that a large part of their current audiences have come to them through their appearances on podcasts like this.
It's really cheap!
$2.50. That's all he asks for. 10 hours of entertainment for less than the cost of a coffee in a trendy Melbourne cafe (or even a crappy Melbourne cafe). You can pay more if you want though. It's a great way to support the podcasting world which runs on a LOT of goodwill of its listeners. As a fervent listener, I always try and support Steele when he's in Adelaide doing live shows, or buy merch but something like this is an absolute no brainer for me. Even if you've never heard the show before, it's a dirt cheap way to get into it (if getting the latest episodes free is too hard for you). Support the podcasts you listen to, support the Australian comedy scene and give a little bit of loose change.
Wednesday, April 15, 2015
My life in community theatre- my favourite shows....
It was a staggering thought that I've recently celebrated 25 years since I first started playing for community (or amateur) theatre. It was as a second violinist for Henley Drama Group's 1990 production of "Oklahoma!". Funnily enough the leading man from that production is currently in a production of Cats I am playing for (as is his wife and daughter). So it's time to reflect on my favourite outings into the theatrical world. I've done many different shows in many different capacities but these ones stick out as being- for the most part- enjoyable and fun. I'll put them in chronological order...
Eight years later, I was honored to be asked to MD it for Therry's production with the incomparable Ric Trevaskis as director. I have never worked with a director with such fine attention to detail and such love of a show. I'll never forget the time when he was struggling to block one particular line in the problematic dinner scene, everyone was chiming in with suggestions and I broke my cardinal rule of never telling a director what to do and offered up my own suggestion. Ric paused and then diplomatically said "Yeeessss... we'll call that plan B". Ouch! This time around we had John Greene and Trish Hart (I can't remember which version of her name she was using at the time!) in the leads as well as Di reprising her role from 1996 (which would win her the inaugural best actress Curtain Call award). Tom Millhouse, Alex Gard and Fahad Farooque were also in top form in their respective roles as Carl Magnus, Petra and Frid. Also in the cast were Eleanor Brasted and James Pratt. Truly an amazing top shelf cast.
Finally I need to make mention of two doyens of Adelaide theatre would played the role of Madame Armfeldt- Phyl Skinner in 1996 and Loriel Smart in 2004. Both amazing ladies of the stage who it was an honour to work with.
Matt was director (of course) and Sue Pole choreographed and played the witch. I can honestly say it was one of the finest bunch of musos I ever assembled for my orchestra as well. The set was simple (well it WAS a Matt show...) but effective. We stuck to the character couplings that Sondheim intended (something later productions wouldn't do for one reason or another) to help enhance the script and story. I must be honest and say that I don't think Matt (or myself) really got to the core of the show but if given another opportunity I think we would both find that path through the forest. It's a very special show and one that most of the cast (which included Michael Williams, Linda Ellis, Robyn Brookes and Rodney Hutton amongst a lot of other wonderful people) also look back on this production with affection.
"A Little Night Music"
Mayfair Theatre Company (1996) & Therry Dramatic Society (2004)
To get to do a Sondheim show is a remarkable thing- to do it TWICE is a dream. "Night Music" was my first "regular" engagement with community theatre (after 5 years of doing the odd show here and there). The first was directed by Peter Goers (who smoked unapologetically in my car) and musically directed by Matthew "Memoman" Barrowman. It's a rare thing when you get to play in the full 27 piece orchestration and it was glorious (although it almost sent the company broke). Some amazing performances from Robin "Smacka" Schmelzkopf and Pam O'Grady as well as my first theatre crush Dianne Barrell (now Lang)- who would return to the role of Charlotte when I MD'd it eight years later for Therry (in a much better performance I think). Matthew Randell was priceless as Carl Magnus and the small ensemble included Adam Goodburn (now a well established opera star in the state) and Ben Rasheed (now a permanent member of the OA chorus). The audiences loved it and the critics raved (it won the OzCart award for best amateur musical that year).Eight years later, I was honored to be asked to MD it for Therry's production with the incomparable Ric Trevaskis as director. I have never worked with a director with such fine attention to detail and such love of a show. I'll never forget the time when he was struggling to block one particular line in the problematic dinner scene, everyone was chiming in with suggestions and I broke my cardinal rule of never telling a director what to do and offered up my own suggestion. Ric paused and then diplomatically said "Yeeessss... we'll call that plan B". Ouch! This time around we had John Greene and Trish Hart (I can't remember which version of her name she was using at the time!) in the leads as well as Di reprising her role from 1996 (which would win her the inaugural best actress Curtain Call award). Tom Millhouse, Alex Gard and Fahad Farooque were also in top form in their respective roles as Carl Magnus, Petra and Frid. Also in the cast were Eleanor Brasted and James Pratt. Truly an amazing top shelf cast.
Finally I need to make mention of two doyens of Adelaide theatre would played the role of Madame Armfeldt- Phyl Skinner in 1996 and Loriel Smart in 2004. Both amazing ladies of the stage who it was an honour to work with.
"Les Miserables"
Mayfair Theatre Company (2000)
The first time I picked up the baton and conducted was as assistant MD for this production. It was one of the great productions that Adelaidians talk about to me to this day. We were in a small theatre with little amplification and yet audiences gave us standing ovations nearly every night. 4 sold out weeks. Adam Goodburn was our Valjean and Matthew Randell was his nemesis Javert. Amy Todd gave a heart breaking performance as Fantine and Scott Nell and Megan Humphries were the perfect Thenardiers. Andy Ahrens was the director and was his usual, brilliant self. The production was tight and in your face. It's amazing to think that in that cast was a young chorus girl called Verity Hunt-Ballard who came around to my house to practice for her upcoming WAAPA audition. She would not only get in but carve a name as one of the most sought after performers in Australian musical theatre (highlighted by her lead role in Mary Poppins). Oh yes, apparently one night the barricade caught on fire too....
"Into The Woods"
Matt Byrne Media (2002)
I will always cherish this production. The first time I was MD and I was basically given a baptism of fire. Sondheim is hard enough, but when your cast is largely untrained and has never sung Sondheim before, it just adds to it. God bless Matt Byrne- I know he cops a lot of flak for things but when I think of the opportunities he gave me (amongst MANY others), I think Adelaide Theatre owes him a great debt of gratitude.Matt was director (of course) and Sue Pole choreographed and played the witch. I can honestly say it was one of the finest bunch of musos I ever assembled for my orchestra as well. The set was simple (well it WAS a Matt show...) but effective. We stuck to the character couplings that Sondheim intended (something later productions wouldn't do for one reason or another) to help enhance the script and story. I must be honest and say that I don't think Matt (or myself) really got to the core of the show but if given another opportunity I think we would both find that path through the forest. It's a very special show and one that most of the cast (which included Michael Williams, Linda Ellis, Robyn Brookes and Rodney Hutton amongst a lot of other wonderful people) also look back on this production with affection.
"Oliver!"
MS Society (2003)
At the time, Shane Davidson was making waves with his mammoth musicals for the MS Society and this was following on from a spectacular production of "Les Mis". I didn't know what to expect going in, but when the cast was assembled I was blown away by it. Ben Rasheed was a magnificent Fagin, Johanna Allen was the most amazing Nancy anyone could ever wish for and we were lucky to have two super talented kids in Will Traeger and Phil Wolfendale as Oliver and Dodger respectively). John Greene and Trish Hart were priceless as Mr. Bumble and Widow Corney. The absolute support I got from Shane and the rest of the Society was a blessing- there was nothing that was too difficult. We got rave reviews and great crowds which helped raise much needed funds for MS research. It's a shame that Shane doesn't do these any more but I'm glad to have been a part of what was, for a time, one of the leading theatre groups in the city."Fiddler On The Roof"
The Met (2005)
A brilliant production directed with class and precision by Max Rayner with choreography by Carmel Vistoli. Smacka was nominated for a Curtain Call award for his performance as Tevye and he was ably backed up by Jenny Scarce-Tolley as Golde and other great cast performances from Carolyn Lockett (now Curtis), Angus Smith and Frank Cwertniak. There were some amazing set pieces (like the whole dream sequence with Fruma Sarah and the finale to Act One) that made this show just click. I was lucky to have another fantastic orchestra for this one as well. Personally, this show was responsible for hooking me up with my first girlfriend AND introducing me to the lady who is now my fiancee. Mazel tov!!
"The Producers"
Matt Byrne Media (2007)
I'll never forget when Matt asked me to do this show. He insisted that he would not only direct but that he would play Max Bialystock. I told him that this would be a bad idea- one or the other- you can't be onstage for 95% of a show and effectively direct it. In one of the most unselfish things I have ever seen, he agreed and we got Glenn Vallen to direct and Rose Vallen to choreograph. Matt was brilliant as Max- so much of that character was him. He worked his arse off for the role and never once argued with Glenn about his character. Michael Williams gave the career defining performance of a lifetime as the hapless Leo Bloom. There was magic between those two. Rebecca Williams was our sassy Ulla and Angus Smith also gave his best performance as Franz Liebkind. Kim Clark and Dirk Strachan as Roger and Carmen were also brilliant. This was a fun show with little to no backstage bitching and one I am enormously proud to have been associated with. Once again Matt Byrne defied people who said that the show couldn't be done by a local company. He would continue to prove them wrong.
"Leader of the Pack"
Northern Light (2011)
I was asked to play piano for a couple rehearsals for MD Kim Clark- I wound up playing for most of the rehearsals and all of the shows. It was great fun to bust out some 60's piano and thump out some funky tunes with a great cast led by Michelle Davy and Dom Hodges. It was also a really short show so the drive to Elizabeth wasn't so tiring....
"Side by Side by Sondheim"
Opus Theatre Company (2011)
A rare opportunity to perform this cabaret show written in the 70's. Kate Anolak and I assembled a mighty cast for this one including April Stuart (who sang the hell out of everything she did), Emma Bargery (whose "The Boy From...." was a particular highlight) and Mark DeLaine (in a rare return to the stage who owned Buddy's Blues). I not only got to MD but also play alongside my good friend Kristin Stefanoff. We expanded the cast from 3 to 9 which helped enormously and Kate brought a wealth of research and nous into the show. The critics disagreed (including a particularly grumpy review from Paul Rodda) but who cares about critics anyway? Sadly we had very small houses and I would dearly love to do this again at a more central location for people to enjoy it. Mind you, the Hopgood Theatre is one of the best in the state.....
"The Phantom of the Opera"
Matt Byrne Media (2013)
I was very nervous about saying yes to MDing this, believing that, as David Sinclair once said to me. "some shows should only be done by professionals". Matt convinced me by telling me he was getting the sets and costumes from Melbourne's CLOC theatre company. I was in. Once we cast Michael Bates as Phantom I knew we were on a winner. Michael was not the only brilliant performer but he was ably assisted by such luminaries as Michael Williams, James McClusky-Garcia, Dione Baker, Ellonye Keniry, David Gauci and Amber Platten. We worked our socks off for this show and everyone lifted their game so much. Our opening night was a bit of a shambles unfortunately and consequently we didn't really get the crits I think we deserved BUT the public loved it and the four week season flew by. It was enormous fun and also challenging but so worth it, knowing that you have set the benchmark for future productions of a show that people believe CAN be done.
There have been many other shows I have enjoyed (and a few I kind of wish I had avoided) but these ones remind me of why I do theatre.....
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