The embarrassing fall of Ian Levine and the rise of the new Doctor

It is both exciting and scary to be a Doctor Who fan right now. The fact I'm doing my second blog in the space of a week on the topic says as much. In case you have been hiding under a rock then let me break it to you gently-

THE NEXT DOCTOR IS GOING TO BE PLAYED BY AN AMAZING ACTOR!

oh- they also happen to be a woman.

Outgoing showrunner, Steven Moffat, and the BBC knew that not every fan would be on board with this decision and so they tried to break it to us gently over the season with a few subtle and not-so-subtle hints.

Unsurprisingly, some fans were less than enthusiastic and took to twitter to vent their outrage. Look, I could post copious screen shots but this one immediately struck me as pretty much summing up every backwards fan there is.

What got me the most was not the what but the who. Ian Levine. Unless you are a die-hard old school fan of the show you probably have never heard of him- all the better for you. Blogger Philip Sandifer has done a pretty extensive blog on Levine's issues but here is Levine in a nutshell:

1) He is a rich, white male from Britain
2) In the late 1970's he saved a number of important early episodes of Doctor Who from being junked and several more (the number varies depending on the source) were returned to the BBC by him.
3) By the early 80's he was a consultant on the show thanks to his friendship with the producer at the time, John Nathan-Turner and as such he developed the notion that he was the ultimate Who fan.
4) When the show went on "hiatus" he actually hired a professional songwriter to create a "We Are The World" type single to try and save the show. The song is absolute rubbish (click the video if you don't believe me....)

5) He championed the show during the time the original series was cancelled and when it came back.

6) At some point, when the new series was announced, he probably felt that his services were needed. When they weren't he started hating and disliking the show more and more.

7) He has an incredibly thin skin. He dishes out abuse like you see above but simply cannot handle anybody criticising him or his actions. For example- he has moaned about the quality of the animation on Doctor Who reconstructions and to demonstrate how much more awesome his were, he put a youtube clip of his own work. When criticism of it came he pulled it immediately and had a little cry of those meanies on youtube.

I guess I was expecting that Levine (who had been yelling for Steven Moffat to leave and for Capaldi to follow him) might have welcomed the new Doctor announcement with a little more enthusiasm. 

Sadly, I was wrong. I just could not get over the absolute venom but I shouldn't have been surprised.

I will bet that Levine will watch the show anyway but here is the challenge-

every woman (or man) that has fist-pumped the decision needs to glue their eyes to the screen and prove the naysayers wrong. Show your support bu giving the show ratings. Hopefully then people like Ian Levine can shuffle off back to their mansions and be quiet.

"A Change, My Dear"- Ranking "Doctor Who" regeneration stories from worst to best

With Peter Capaldi's due to regenerate into the next incarnation of the Doctor at the end of the year I thought it might be time to look back on how the changeover has been handled in the past. For the purposes of this post, a "regeneration story" is a story that features an actual regeneration from one actor to another (with one exception).


12) "Time And The Rani" (Colin Baker to Sylvester McCoy)

There really cannot be any other episode that comes at the bottom of this list. Baker refused to film a scene and so the producer, deciding that a regeneration HAD to be seen, plopped a blonde wig onto McCoy's head and then regenerated him at the start of the story. The regeneration itself is not bad but the story that follows it is dire. It is clear that McCoy has no idea of what he wants from his Doctor and the script by Pip and Jane Baker is amateurish and dull.

11) "The Day Of The Doctor" (John Hurt to Christopher Eccleston)

Although the John Hurt "War Doctor" was only one third of the whole 50th anniversary story, it seemed inevitable that we would see his Doctor change into the 9th Doctor (although not fully). It's a regeneration that happens with little explanation other than that his body "is wearing a bit thin" (a throwback to one of the last lines of the First Doctor). It bridges the gap from the classic series to the news series though...

 

10) "The End Of Time" (David Tennant to Matt Smith)

What should have been a glorious celebration of the most watched era of the program instead became a plodding, overlong and gratuitous mess. This story runs nearly as long as the six parts of "Planet of the Spiders". The ending is almost "Lord Of The Rings"-esque in its ability to make an audience go "ARE YOU DONE YET?!?!?!". Don't even try to make sense of the story, there is no absolutely no logic in it at all. It is only saved by the heartfelt performance by Bernard Cribbins as Wilf.

 

9) "Doctor Who: The Movie" (Sylvester McCoy to Paul McGann)

Never let Americans do Doctor Who. This whole movie is the reason why. Which is a shame. McGann would have been an outstanding Doctor onscreen (as he is on Big Finish audios). The decision to bring in McCoy to show his regeneration was a boggling one and one that made the decision to not show a regeneration at the start of the new series even easier. Both McCoy and McGann look embarrassed by what they had to do during the scene.

8) "Logopolis" (Tom Baker to Peter Davison)

Like David Tennant, Tom Baker's era ended with a very forgettable story that makes little to no sense at all. The script editor at the time, Chris Bidmead, was simply too clever for his own good and put as much pointless science into this as he could. Throw in three companions who had barely been there five minutes, a Master who had yet to come to grips with the part and a producer who was glad to see the back of his leading man and you have "Logopolis". To be fair, Baker gives a performance that rivals some of his restrained best work on the program and the actual regeneration itself is really well done.

7) "Planet Of The Spiders" (Jon Pertwee to Tom Baker)

 Six episodes of nonsense which concludes with one of the most heart wrenching farewells. Pertwee (like Baker and Tennant) deserved a better send off than this. This meandering story is about four episodes too long (heck, one episode is almost devoted entirely to a boat chase, which would be fine if it wasn't so boring!). Whilst producer Barry Letts, Script Editor Terrance Dicks and Pertwee himself try to wrap the era up nicely, it just all seems too slow and pointless. That being said, Pertwee, Elisabeth Sladen and Nicholas Courtney deliver a poignant farewell (even if the regeneration itself is rather poorly done). 

6) "The Time Of The Doctor" (Matt Smith to Peter Capaldi)

Another in the (apparently) long line of "not-so-great story with a decent final scene" stories. Smith's era has been described (politely) as "either hit or miss" and whilst I feel his era was actually a lot better than many fans judge it by, his final swan song almost feels tacked on after the wonderful "Day of the Doctor" special. Mercifully it isn't as long as Tennant's farewell and both Smith and Jenna Coleman do a great job in the final moments. There are also some very good laughs to be had near the beginning- something that is sorely missing from previous entries.

5) "Night Of The Doctor" (Paul McGann to John Hurt)

In seven short minutes, Moffat writes a fond farewell to a Doctor that most viewers had barely seen. It says something that without the baggage of having to write a one hour episode, a Doctor can almost bring tears of joy to fandom the world over. And doesn't McGann look like he's having a ball?

4) "The Tenth Planet" (William Hartnell to Patrick Troughton)

A cracking good story that introduces us to the Cybermen and the whole concept of "renewal". Playing it by ear, the production team came across the notion of simply changing the Doctor's appearance with little to no explanation. It saved the show and allows it to continue to this day. It's a beautifully shot final regeneration as well.

3) "The War Games" (Patrick Troughton to Jon Pertwee)

 With the future of the program unsure, we never see the Doctor change (although some fans hired Jon Pertwee to film a scene that would show it) but the lead up is marvelous. It's ten episodes long (and it could have fit in to four or six episodes comfortably) but it never feels like it is dragging to the extent that others stories do. Troughton's final episode is remarkable but it's the almost coldhearted way in which the Doctor is forced to change that makes this one very special.

2) "The Parting Of The Ways" (Christopher Eccleston to David Tennant)

The first regeneration of the new series came at the end of a stellar season that had only one misstep (the clunking "Boom Town"). The final two-parter wrapped up the season arc brilliantly and gave us a near-perfect mixture of humor, pathos and heartbreak. The final scene by Eccleston and Billie Piper is a deeply resonant one. The new series has yet to come close to this  swansong episode.

1) "The Caves Of Androzani" (Peter Davison to Colin Baker)

The absolute pinnacle of Doctor Who swansongs. One the best presented regenerations of all time, coupled with not only the best story of the lot of them, but one of the greatest Doctor Who stories of all time. Peter Davison's portrayal was seen by some as "wimpy" (and when I say "some", I mean "one person on a forum I frequent who basically has never forgiven Davison for replacing her precious Tom Baker and is incredibly petty about the whole thing"), in this story he becomes the real hero the Doctor needs to be. Throw in a psychotic villain that's not a Dalek or Cyberman and one of the best cliffhangers you'll ever see (the end of part one) and it is perfection. I doubt that this one will ever be surpassed....

....but I'm happy to be proven wrong.

 

Ranking the albums of ELO from worst to best.

 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" 

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.

 

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...

"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.....

The Top 20 songs by Kate Miller-Heidke

It's hard to believe that it's been 10 years since Kate Miller-Heidke released her first ep "Telegram". Since then she has established (through two more EP's, four albums and a side-project with her husband) as an absolute powerhouse performer. I have long felt that she is one of the finest songwriters in this country. Here are 20 reasons why.....


20) "Little Adam"
From her first full album ("Little Eve"), this tale of a young man enjoying himself and being told off by God is still a crowd favourite today. The quiet pizzicato violin line during the verses and the explosion of the band in the chorus give this song some epic qualities. In the end, though, it's Kate's almost motherly tone she adopts throughout that elevate this song into the list

19) "I'll Change Your Mind"
If Taylor Swift's "Blank Space" had a slightly creepier older sister, this would be it. This song from "Nightflight" has a suitably dark video (NSFW). The jaunty melody and arrangement hide the real menace underneath.

18) "Out and In"

The opening track of the "Circular Breathing" EP is a deeply moving ode to heartbreak (a recurrent theme in Kate's earlier work before settling down with her co-writer and now husband, Keir Nuttall). This song, all played on the black keys of the piano, stays barely conscious and never really takes off- and for good reason. It's melancholic lyric is the kind that resonates with anyone who has a freshly broken heart. 

                                      

17) "Shoebox"

"Little Eve" has a fair share of gems on it, but this one has a particularly nice feel to it. The clever lyric goes from talking about the shoebox of a cramped apartment to feeling shoeboxed in a relationship in the space of a few minutes. The clever arrangement (like "Little Adam") masks a slightly edgier lyric. 

                                       

16) "The Devil Wears A Suit"

The dark tone of the "Nightflight" album reaches its peak with this song. Nuttall's guitar playing is superb here- sounding like a minstrel from Elizabethan times. This whole song has a sense of menace that underlines the lyrics about the creepy people in your town. The production values really shine on this track. 

                                       

15) "Career Advice"

Kate's ultra-rare second EP "Comikaze" contains this bright gem about the perils of being a young singer with a modicum of talent and the perennial comment that gets dished out- to appear on a certain singing program. Whilst the EP version is perfectly fine, it was live that this song really shone. Following this performance, Julia Zemiro remarked that she loved any song that concluded with the line "shove it up your a**"

                                      

14) "Drama"

"O Vertigo" is a staggering swing in feel from "Nightflight". Proving that Kate has not lost any of her wonderful sense of humour that endears her to concert audiences worldwide, this song- about one of those difficult actors you always hear about- is about as rocky as Kate gets. Guest performer Drapht adds to this as the frustrated director of this tale.

                                          

13) "Words"

The first single off of "Little Eve" is incredibly catchy and would fit perfectly well on a Kate Bush album. There's an element of frustration from the subject as she struggles to put into words to her lover what is going wrong with their relationship. Again, superb production make this essential in

any Kate collection.

                                             

12) "Are You Ready?"

From the "Fatty Gets A Stylist" project, this little ditty shows that Kate is every bit as good at writing a catchy, hummable tune, so much so that this gained airplay in America as well as other parts of the globe. There's an element of old-school production here that gives the song a more timeless quality than it might otherwise have....

                                              

11) "Sarah"

Another haunting number, based on a true life experience, from the "Nightflight" album. The lyrics have little depth, but they don't need it. The story is scary enough.Another crowd favourite.

                                             

10) "Blah Blah"

One day I hope Kate will resurrect this number from her first EP. It's a hilarious tale of a bad date where the man does nothing but talk about himself all night long. The irony is that words of the singer come out at a million miles an hour as if she's been bottling it in all this time.

                                            

9) "O Vertigo"

 A modern-day "Queen of the night" aria. If there was ever any doubt the Kate is one of our finest vocalists, then this song will dispel the naysayers. I love the vibe of this song and the general warm fuzzy it creates (although more than one person has described it as vocal hiccups...). Years of opera training and performance pays off in four glorious minutes....

                                             

8) "Can't Shake It"

 Another humorous gem- this time from the "Curiouser" album. Although Keir tries his best to accompany this song on his acoustic guitar, this really needs the full band to truly set this off. This song contains probably my favourite Kate lyric- "I execute the moonwalk like I stepped in shit". Of course, in pure Kate fashion, the song is eminently danceable....

                                              

7) "Ghost"

 The dream pairing of Megan Washington with Kate is an amazing experience that crowns the "O Vertigo" album. Who is the ghost? Is it Kate, is it Megan? The answer is both and neither but their spirit hangs over their relationship with the same man. These two are remarkable in selling this song and it would fit just as comfortably on one of Washington's outstanding albums as seamlessly as it does here. (sorry- can't seem to find a video of this one!)

6) "Nightflight"

My absolute favourite song from the "Nightflight" album. Anyone that has been on a long haul flight or train journey will relate to this song. There is a weariness in the vocals that almost breaks your heart. The sparse arrangement adds to the brooding feel of the song.

                                              

5) "The Last Day on Earth"

 The unexpected biggest hit of Kate's career to date. As musically powerful as the subject matter. What will you see as the world burns in your final moments? For the singer the answer is obvious. Probably as serious as the "Curiouser" album gets..,

                                              

4) "Space They Cannot Touch"

 The first version (from the "Telegram" EP) is a little rough, but the edges are smoothed over on the "Little Eve" album version. Lying in bed with your sleeping partner has never sounded so darn inviting. The absolute highlight is the use of the guitar to emulate the sun poking through the curtains as the day begins near the end of the song. It is still performed in her shows to this day.

                                              

3) "Politics in Space"

 Those darn hippies!! One of the funnest tracks on "Curiouser". Kate expresses her disgust at the previous generation and their way of life. As she sings- "the sixties were fifty years ago, you know. Get over it!". The song dissolves into an almost sixties-style rabble of noise while Kate calmly says "It's ok....it'll be fine!"

                                              

2) "Are You F*****g Kidding Me?"

 A throwaway song written when Facebook was still relatively new. This became the absolute highlight of her concerts as the females in the audience related to the tale of the desperate ex who wants to be friends with them on Facebook. It was never recorded officially in the studio and the live version can be found on the "Live at the Hi-Fi" album. Again....NSFW!!!

                                             

1) "Caught in the Crowd"

 This beautiful song about bullying and how we can live a life of regret is one of the most important songs Kate has ever written. It has spawned many a classroom discussion on bullying and how others respond to it. Kate has the ability to connect with her lyrics and sell them like no other and this is a prime example of that.

                                             

On turning 40....

 I remember when I turned 25- my first thought was "wow- a quarter of a century! I'm OLD!!"

 I remember when I turned 30- my first thought was "wow- three decades! I'm OLD!!"

 Now that I'm about to hit 40 my first thought is not so much about how OLD I am but what I have acheived. Have I really impacted the world in a meaningful way? Have I done all I could do with my first four decades? Sadly, the answer is no.

 In some ways, I haven't so much as altered the world one bit. I haven't created a masterpiece or influenced world thought. I haven't gone around the world and experienced every different kind of culture. I have had a number of opportunities slip through my fingers whilst people who at one point looked up and admired me now have surpassed me and acheived so much more.

 It's ok though- I'm not out for sympathy or messages of validation.

 Funnily enough I forced myself to think of some of the positive influences I have created. I have inspired people to be better than themselves. There are students of mine who still play and make some genuine money from it. My genuine friends have stuck with me for a heckuva long time too. I have people in my life who make me happy and encourage me to be the best person I can be. Yes, even at 40 you never stop wanting to be better.

 Three years ago I made the decision to go back to study and become a fully qualified teacher and I haven't regretted the decision. I have been blessed with meeting many wonderful people at that campus who I now consider a friend. I finish my final prac at the end of September and then I hopefully will able to help carve out some wonderful minds from our young generation. Being passionate about my subjects helps I think.

 I guess also turning 40 means you give out "sage" advice. The recent death of Charlotte Dawson (who I spoke about in an earlier blog), highlights for me something I heard from the musician Pinky Beecroft who was asked what his philosophy on life was and he simply replied "Don't be a dick to people". I wish I could carve that into wood and stick it up in every classroom. That simple 6 word phrase sums up everything that worries me about our current keyboard generation.

 Sadly, it's not just the young people that think it's ok to be rude and mean. A few of my Facebook friends have been blocked because of their constant stream of negativity. 50+ news articles a day from crappy sources with fudged facts and poor spelling, status updates about their pets, over dramatic updates that intimate they may just kill themselves because they don't like Tony Abbott (if ever there was a cry for attention, there's one). It started to affect my mood. It's amazing how removing negativity from your life actually helps you be a little more tolerant.

 Please don't get me wrong. You can run your page and say what you like on it- that's your choice. It's also my choice what I do and don't want to see on my own feed. Sometimes take a deep breath, get some sleep, listen to some positive music or watch a comedy series you like. Smile. Treat people with respect and dignity and be thankful that you live in a country where you can say what you like about the government or public figures without fear of being shot.

 I feel truly blessed to have had some wonderful experiences in my life despite the fact that I have not really travelled. Last year I got to conduct "Phantom of the Opera", the last in a line of shows for me to MD. I've had shows that I was glad to see the back of, but that wasn't one of them. I met and worked with some wonderful people and I believe we created a piece of absolute magic.
 Adelaide theatre has been, until recently, very kind to me. I guess I have started to feel more and more cut off from theatre as my involvement has lessened due to my studies. If I have a dream, it's to be asked to do a cabaret show with someone I truly want to collaborate with- nothing fancy, just a singer and myself. I have a list of people I'd love to work with and maybe I'll just get that call. I've never performed a cabaret show and I feel like I've truly missed out. I always feel like I'm the one pushing for things to happen. I can't remember the last time someone from theatre just contacted me out of the blue for a catch-up.

 Ok, before this gets too bogged down, I just want to say a couple more positive things and thoughts. Please don't let the world get you down. Be a positive force for change. Soak up as much information as you can and read up. Take time out of your day to read a classic novel. No seriously, do it. Set yourself a leisurely target and go for it.

 Try and be there for others. When people need your support then give it if you can. And take time to chat with people you've lost contact with. You don't have to become besties with them, but letting them know you care is a wonderful thing.

 40 years. Wow. Things are already on the improve for me and I hope for you too.

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