"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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