THEATRE WORKS

First Stories Festival 2022 from Theatre Works on Vimeo.

To celebrate 40 years of Theatre Works, we produced an exhibition in association with the Linden Gallery showcasing memorabilia, artwork and marketing content from our four decades of operation. The Reflect and Rejoice Exhibition was unfortunately cancelled due to the global health situation, but we'd still love to share some memories with you from throughout our storied history.

Every second week - between Spotlight Shows - we will be looking back on iconic Theatre Works productions, giving an insight into the history of the work and how it came to life on our stage.

Watch This is Australia's first and only Sondheim repertory company. In 2014, they collaborated with Manilla Street Productions and Theatre Works to produce Pacific Overtures. Pacific Overtures is an underproduced musical with music and lyrics by Steven Sondheim, and a book by John Weidman. It was first produced in 1976 and it was performed at Theatre Works from February 19th - March 9th 2014.

Stephen Sondheim’s favourite from his own songs is “Someone in a Tree” from Pacific Overtures.

Pacific Overtures is set in 1853 and follows the Westernisation of Japan as told from the viewpoint of the Japanese. While the score is considered to be one of Sondheim's most ambitious efforts, the production has been criticised through the years for telling a Japanese story through the eyes of non-japanese writers. 

Watch This Artistic Director Sonya Suares explained the complexity of putting on this particular show - “The play is written by an American composer lyricist in the 70s imagining a version of 19th century Japan, and then we are translating it in 2014 for a Melbourne audience. So there are layers of complexity in that. What we wanted to achieve was to put the audience in the position of the other looking in and centre this notional version of Japan. And that’s a really tricky manoeuvre for an indie company.” 

Sonia Harford quoted Sonya Suares for the Sydney Morning Herald - Suares is fairly certain this work has never been performed in Melbourne. ''I think people are scared of attempting this work because of its conceit - an American playwright attempting a version of Japanese history from the perspective of the Japanese,'' she suggests. ''I argue that it does resonate with a contemporary audience. The play is about human responses to incursions from other countries, clashes of ideas.’'

National identity and fear of change emerge as timeless themes. ''In our island nation in 2014 there is a resonance around the ideas of 'stop the boats'. It's differently configured, people aren't offshore in gunboats and we're not talking about the threat of war. But look at the visceral responses here to people crossing our borders, and some people's idea of what's at stake as a way of life.’'

Suares’ sentiments were echoed throughout the design process. The production was executed with great care and consideration and received much praise for its staging, design elements and performances. Set Designer Eugyeene Teh was inspired by traditional paper designs called kirigami and the symbol ensō. Ensō is a symbol drawn in one or two uninhibited brushstrokes. He says “through the circle, through the ensō, the direction and the choreography realised itself. This was the focal point of the stage and of the show, i think.” 

Costume/ Make-up Designer Chloe Greaves was also inspired by this symbol and paper construction. The production only had an $1000 budget for 30 characters with many costume changes in 19th century clothing. She constructed many of the costumes using lightweight fabric called tyvek, commonly used in painting overalls. She constructed all of the kimonos herself and used calligraphy to create accessories which helped represent different characters when an actor was playing multiple roles. The use of tyvek material, while referencing traditional paper folding art, also added to the soundscape as it created a unique sound when performers moved. 

The unique staging and thrifty design elements were executed with great skill and resonated with Melbourne audiences. These artistic choices also supported the themes which Suares believed would engage a 2014 audience - themes of national identity, gentrification and colonisation. Ben Neutze from Daily Review wrote “Eugyeene Teh’s set is attractive, featuring a large, white painted ensō; a circle drawn in one handstroke which symbolises the moment the mind is free to let the body create. Above it, hang bamboo branches, filled with lights, which in the second act are lit red and blue, symbolising the encroachment of American culture on Japan.” 

Rebecca Harkins-Cross for the SMH wrote;  “This is a markedly slicker affair, whose designers make this independent production punch far above its weight. Eugyeene Teh's set is an exercise in monochrome minimalism that can transform like origami, in keeping with Chloe Greaves' gossamer kimonos.”

Melita Pereira for Australian Stage; “During the number “A Bowler Hat”, the audience is invited into the conflicting psychological states that made the westernisation of Japan such a tumultuous experience for the nation. The symbolic evolution of the characters depicted through the colour, music and costume in “A Bowler Hat” are the most memorable and poignant of this musical.”  

The productions’ 8 Green Room nominations were a testament to its success. Pacific Overtures was nominated next to many productions with much larger budgets, cementing the artists innovation given their financial restraints. The nominations were as follows; 

Male In A Supporting Role - Adrian Li Donni and Nick Simpson-Deeks 

Betty Pounder Award For Excellence In Choreography - Michael Ralph

Musical Direction - Robyn Womersley

Design (Lighting) - Rob Sowinski 

Design (Set/ Costume) - Eugyeene Teh (Set) and Chloe Greaves (Costume) 

Direction - Alister Smith 

Production - Pacific Overtures

The cast and crew for the 2014 Pacific Overtures Production:

Director: Alister Smith

Musical Director: Robyn Womersley

Choreographer: Michael Ralph

Set Design: Eugyeene Teh

LX Design: Rob Sowinski

Costume/ Make-Up Design: Chloe Greaves

Production Managers: Linda Hum & Tanje Ruddick

Stage Manager/ Operator: Mel Moldrich

CAST: Bianca Baykara, Anton Berezin, Reece Budin, Emma Clair Ford, Jacqui Hoy, Andrew Kroenert, Adrian Li Donni, Noni McCallum, Tim Paige, Nick Simpson-Deeks, Elenor Smith Adams, Sonya Suares and Leighton Young

Manilla Street Productions turns 10 this year. Follow them on their facebook page.

In 2020 Watch This is celebrating 8 years of producing Sondheim Productions. For Sondheim’s 90th birthday they have produced a video series on their previous work. You can watch EP 2 about Pacific Overtures here. 

Every Spotlight week, we’ll be chatting to the Theatre Works associate artist that has been seconded to the production. This week, we’re getting to know Bronwen Coleman, who was attached to “Voldemort and the Teenage Hogwarts Musical Parody”, presented by Salty Theatre!

Who are you?

I'm a theatre maker, mum and Lhasa Apso enthusiast.

What is your primary artistic practice?

I'm a director, actor and teacher, and the Artistic Director of the Anthropocene Play Company. I'm really interested in telling stories that ask the audience a difficult question - particularly around navigating THIS moment in history. My approach comprises engaging rehearsal techniques developed in the tradition of the Actors Studio New York - where I trained, and in many ways my artistic home - designed to bring the actor both into the present moment in performance and deeply invested in the given circumstances of the play. I'm interested in this idea that the actor giving something that we recognize as a truthful performance gives the audience an opportunity to "live through" the imaginary circumstances themselves - a kind of profound empathy - a way to broaden our lived experience. 

The word "anthropocene" is often used by geologists and climate scientists to describe our current geological age - from "anthro" meaning human, and "cene" meaning new. The "anthropocene" is this time that we're in in which humans are having the most impact in history on the natural world. This idea to me suggests responsibility - that part of having an awareness of our impact is in making a thoughtful response. I very much feel my own responsibility as a storyteller. How am I using my voice? what was your role on the production?I was working with SL and Ash as a kind of assistant director. The show's rehearsal process was a marvel of efficiency, so as SL blocked and and choreographed the show I would work with actors separately on certain aspects of their performances - looking at things like Laban and physicality or status work. It was extremely fun to play around with Voldemort's Laban "effort" or the status shifts in Dumbledore as he tries to manage his sassy class!

What was your role on the ‘Voldemort and the Teenage Hogwarts Musical Parody’?

I was working with SL and Ash as a kind of assistant director. The show's rehearsal process was a marvel of efficiency, so as SL blocked and and choreographed the show I would work with actors separately on certain aspects of their performances - looking at things like Laban and physicality or status work. It was extremely fun to play around with Voldemort's Laban "effort" or the status shifts in Dumbledore as he tries to manage his sassy class!

What were you getting out of it?

Ash and SL are developing this fantastic model to create independent theatre with a high production value. It's been terrific to be able to chat with Ash about things like her budgeting strategy and marketing timeline. SL and Ash are such smart business people - and they're interested in both creating a self-sustaining theatre company, and really looking after the artists they work with. It's wonderful (and rare!) to get this kind of insight into the workings of another theatre company. What have you been working on personally?

Right now I'm working closely with playwright Daniel Nellor on his new play "Renunciation". It's a really exciting script that explores the Socratic idea that it's better to be harmed than harm, set against the backdrop of a series of terror attacks in Australia. I'm using the medium of choice right now (Zoom!) to facilitate developmental readings - with a view to actually mounting the play when we're able to do so. I'm also attached as director to a new production of David Lindsay-Abaire's play "Rabbit Hole" with Micro Teatro. We were originally scheduled to go up at the Lawler in July of this year - and (like so many) are in the process of rescheduling.

What kind of projects are you interested in doing in the future?

As far as my own company, I'm really interested in this idea that the stories well tell must add something to the conversation. Projects that are at the day-dream stage include a verbatim play about the bush fire disaster earlier this year. My husband, son and I were visiting family near Ulladulla in Shoalhaven over Christmas - and the scenes were incredibly disturbing. But making sense of the different narratives many of us hold about the fires' cause - was equally as disturbing. It was profoundly strange time to feel that what I took to be fact about the cause of the fires might absolutely not be taken as fact my neighbor - and the stakes feel incredibly high. This idea of "fake news" and it's consequences. As an artist, I ask myself: how can I most powerfully participate in democracy?

Madeline Nibali is the set and costume designer for Voldemort and the Teenage Hogwarts.

Having never received her Hogwarts owl, Madeline decided to make magic her own way. From wardrobe to stage, Madeline has always sewn....and knitted, crocheted, papier mâchèd, beaded, painted, built, or learnt whatever other skills were required to realise her visions. Throughout her studies in Fine Arts at VCA, she became increasingly engaged with the practice of creating worlds, characters, scenarios, and other elements of visual storytelling. She creates coherent visual evidence within a theatrical context for the audience to uncover.

Sure that her calling was to design and create set and costume, Madeline is currently completing her Master's in Design for Live Performance at the Victorian College of the Arts so she can truly become a Master of Disguise! Past credits include: costume design assistant Mad Forest (VCA 2019), Prague Quadrennial (2019), Hotel Bonegilla (La Mama 2018), Lear (Melbourne University Shakespeare Company 2017) and much much more!

Madeline’s process with Salty Theatre and Voldemort 

From my first talks with Salty Theatre it was clear that this was to be something special and unique. We all wanted something different from the typical school uniforms of the Hogwarts world most people know. It was my privilege and challenge to cook up a cauldron using an ingredients list of whimsical notions provided to me and boil it down to a coherent concoction of creativity and comedy.

I was to create a world that is steampunk, 1940s English College...but a bit sexy and (of course) magical. No biggie. Normally a director would ask for one or two of these themes, but with such a fantabulous musical and visionary Sarahlouise Younger in charge, it required something bigger and better that exceeded the ordinary! 

I avoided deriving too much inspiration from the Harry Potter franchise and focussed on how teenagers rebel against societal norms. I researched muggle styles from the 1940s that would be recognised loosely as uniforms (military motorcycle drivers, nurses, librarians, press agents, and sailors) and then hit them with all the style and flare of a teenager bursting to show off their emerging personalities. I question anyone who claims to have never committed a uniform infringement in their school days. 

Like teenagers seeking guidance and a place to belong, many of the characters in Voldemort and the Teenage Hogwarts Musical Parody absorb the characteristics of their chosen house, and so I reflected this through costuming: Myrtle is a Ravenclaw and therefore is always investigating and experimenting (in more ways than one), so she has glasses, goggles, magnifying glasses...whatever will help her discover, observe and eventually understand those around her! The house values were a major source of inspiration- it is an aspect consistently respected across books, films, parodies and plays alike.

The mascot of the badger is surrounded with baked goods as is their preoccupation in this interpretation of the House. Kind, fluffy, and sweet, the honey badger is the perfect patronus for our Hufflepuff characters...and its sneakiness comes into play too... “Hufflepuffs value kindness”... “also we value snacks.”

The set had logistical restrictions: it had to be stored and packed away quickly, therefore had to be minimal, and without a workshop it had to be constructed by me in my backyard (and fit in my little car)! I called on my experience in painting to make the banners, my furniture restoration tools to adapt a desk and chairs for Dumbledore, and rather eclectic personal collections to be adapted into various props.

But there had to be some spark to evoke a magical state of mind. That's where the sky came in: it will be a beautiful draping of felt with fairy lights, glitter and splashes of colour to form galaxies. This is something that has to be seen and installed in the space so the only way to see it is to come see the show! 

Seriously...I have two kilos of glitter I intend to use on that sky.

We wanted to check in and let you know that we are thinking of you, our audience and our friends.

While our immediate focus has been to support our staff and the many artists that have been impacted by the hibernation of our programming that the heartbeat of our amazing organisation is still pounding. We are embracing the unknown and wish to combat these unusual circumstances with ideas and determination, we are weaponising our optimism and planning radical opportunities and most importantly caring deeply for the people that are Theatre Works, our artists.

We are resisting creating noise in the online arena just for the sake of validating our existence, instead, we are taking this opportunity to build a stronger and more stable organisation for when we break from our hibernation to welcome the actors, creatives, techies, and stage managers back to our stage - where they belong.

Making theatre is a radical act of hope. A radical act shared by a group of artists and audience. A shared heartbeat and a shared experience. For the safety of everyone that shared experience can't happen right now, but the shared hope still can - over the coming months our theatre will be dark, but our artists continue to evolve and together we look to the future.

With love from the amazing Theatre Works team

VIEW OUR E-NEWS UPDATE HERE

SL: Hello my name is Sarahlouise Younger. I am the co-founding artistic director of Salty Theatre and the director of Voldemort and the Teenage Hogwarts Musical Parody.

AT: Hi I’m Ashley Taylor I’m one of the co-founders of Salty Theatre and I also play the role of Myrtle Warren in Voldemort and the Teenage Hogwarts Musical Parody.

TW: How did you start collaborating on Salty Theatre?

SL: So Ashley and I met doing a show together in 2018 and during the rehearsal process we didn’t really have that much to do with each other but during production we were sharing a dressing station together. Ash just has a really cool vibe and she’s just a dream to work with in a show. At some point very briefly during wig changes and costume changes and all sorts of things, she expressed that she really wanted to start a theatre company, very similar to the ones that she had worked with in Canada - or her goal was to create something like that. And the more I got talking to her I realised she had worked for Stratford and Shaw and I was pretty starstruck.

I think a lot of actors have had that conversation with another actor where they have expressed that they want to start a theatre company and then you kinda go on your merry way. It’s sort of something you do before you get booked for the next gig you know. Whereas it's something that I've actually always wanted to do and finding someone who is willing to put in the hard work for that is rare. And so I said to Ashley you know I've had this conversation before but if you're in I’m in, like I wanna do this. And about a month later, we had a meeting over a couple of wines. 

We just kind of laid it all on the table about all our artistic woes and things that we wish would change and two months later, we put on a show and it was exhilarating, scary, we made a bunch of mistakes but we just knew that we were onto something and the rest as they say is history. 

TW: How did you discover ‘Voldemort and the Teenage Hogwarts’?

AT: I discovered ‘Voldemort and the Teenage Hogwarts Musical Parody’ on one of my many google rabbit holes that I fall into when I’m looking up musicals and trying to find shows that I would like to bring here as part of Salty Theatre. I was looking at shows that were being done at the Edinburgh Fringe Festival and I came across this golden nugget or golden snitch, as it were! 

I just fell in love with the whole concept behind it, just the idea of this musical parody, this world - I’m a self-professed Potterhead- so being able to bring that world here and just kind of spin it on it’s head. It was a really exciting concept. I know audiences from overseas really enjoyed it and knowing that there's such a fan base here in Australia we thought it would be a great show but also it speaks to audiences that are not really familiar with harry potter as well. We fell in love with the whole idea of Voldemort coming to Australia. We got in touch with the team there and snatched it up and we’re very very excited and very grateful. 

TW: What has been a highlight from your time developing ‘Voldemort’? 

SL: One of the biggest highlights has been the fact that this script is so funny. When we were in the first read through I felt like I could just put microphones in front of the cast and put them on a bare stage and just let them go and it would have still been an amazing show. That’s also because we’ve just been blessed with the cast that we have assembled they’re so talented, driven, no fear, great instincts, they’re invested in the characters, they’re invested in the script, they’re invested in the world that we’re creating, being very sensitive to the needs of the fans of Harry Potter and the Potter world but also willing to push the envelope just that little bit so we’re creating something new and fresh for now. 

I think also for Salty Theatre in general this has felt like a bit of an evolutionary experience  - if that's the right term, I don't think it is but i'm gonna go with it. We’ve gone from Ash and I kind of doing everything, not kind of but doing everything, to the cast and crew and creatives combined we have 14 people on board who believe in us and believe in the vision we have for this show and that creative network that has happened is just - I think a lot of performers and actors and people in the industry know that moment where you just find your tribe and I feel like we found the Salty tribe. 

TW: What are you most excited for audiences to see?

SL: What I am most excited for audiences to see is a fresh take on a very familiar world and also being introduced to new characters and for Slytherin to finally have its time to shine front and centre. I think it’s gonna be a real treat for when audiences come and visit us at Theatre Works. 

TW: Is this just a show for Potterheads? 

SL: This show is not just for Potterheads. It is pretty much for everybody. You could be someone who's all about that life, waiting for your Hogwarts letter, written your own Hogwarts letter, to the other side where you’re like “I couldn’t care less about that kid under the stairs”. If you love to laugh, if you like your jokes a little bit dirty and cheap then this show is for you. 

TW: What Hogwarts house do you belong to?

SL: Slytherin. No one’s surprised. 

AT: I am a proud member of Gryffindor house. I have taken the Wizarding World test a number of times and yeah, I think I am a Gryffindor through and through.

I thought maybe I would be a Hufflepuff but I’m not. Gryffindor. So yeah Sarahlouise and I get along really well, no, but we actually do, we love each other. 

TW: Any final messages?

AT: For all of our audience members out there, our ticket holders and the Harry Potter fans out there, all we have to say is sit tight, we are coming, the show is coming back. Hold onto your tickets and just know that magic will be coming to you soon and we’re so excited. It's gonna be worth the wait we promise! 

SL: To all the people who have purchased tickets to Voldemort, to everyone who has supported us, to all of our fans of Salty Theatre who continue to engage with us on Instagram and on Facebook and who visit our website, Ash and I wanna give you a big heartfelt thank you! Your support means the world to us, especially now and we hope to see you soon. Please hold onto your tickets. Voldemort is gonna happen and we cannot wait to see you and have a drink in the theatre and the foyer afterwards because we’re gonna need it! 

If you’re new and have just found out who we are, welcome! You can visit us on Instagram @Saltytheatre and on our Facebook which is also Saltytheatre or you can visit our website at www.saltytheatre.com.au Mwah! Thank you!

Watch the full interview here and catch Voldemort and the Teenage Hogwarts Musical Parody at Theatre Works soon!

In response to the unfolding health situation, we have made the difficult but necessary decision to temporarily close our venue until 1 May and postpone the upcoming seasons of WellBless, Voldemort and the Teenage Hogwarts, Jungle Bungle and Singing Swallows as a precautionary measure against the spread of COVID-19.

We are currently in the process of informing all customers and would like to assure all those who are affected that you will receive a full refund or exchange for your tickets. Due to the large number of inquiries, we are asking customers not to contact Box Office unless your query is urgent.

Read more:

Based on current advice, Theatre Works' upcoming productions of Voldemort and the Teenage Hogwarts Musical Parody, Jungle Bungle by Craig Christie and Singing Swallows by Romi Kupfer are continuing as scheduled.

However the WellBless team has made the decision to postpone their season, cancelling their upcoming performances over the next two weeks. We standby and support the artists in this decision and will be in touch with ticket holders shortly to organise refunds and exchanges.

Read more here:

Alex Donnelly is Tom Riddle Originally from Tasmania, Alex has spent the last four years studying and working in Melbourne. While studying at the Victorian College of the Arts he performed such roles as Peter Pan in Peter Pan (dir. Ben Schostakowski), Henry in The Skin of Our Teeth (dir. Dean Bryant) and Queen Margaret in Richard III (dir. Budi Miller). Since graduating he has cast his eye to the screen, appearing in AFTRS graduate film Friends of Mine (dir. Andréas Giannopoulos), comedy web-series Undergarment Odysseys (dir. Alex Thomson) and short film Underpass (dir. Glenn Alexander). Alex is a strong believer in the power of comedy, that there is always room for laughter, and the world is open for play

@aawalkerphoto 📸

@madelinenibali costume design 🧵

@iamslyounger @adamgardner26 design concept 👩🏾‍💻👨‍💻

Tix: http://www.theatreworks.org.au/program/voldemort/

The Hitmen must close this Saturday night, don't miss out, grab your tickets here:

To read more and catch up on what's coming up this Melbourne International Comedy Festival, click here:

Lala Barlow is Muffin Rows.

Lala has recently returned from filming in the UK where she played the title role of Miss Campbell in Indie Horror Film Eating Miss Campbell (Refuse Films) directed by Liam Regan. Last year she played Vivienne Kensington in Legally Blonde (James Terry Productions), Regina in Rock of Ages (Mad About Theatre), Student 3 in The Riddle directed by Yael Ella and appeared on 9NOW and 9GO as Penelope in Metro Sexual (Humdrum Comedy). Lala is the co-writer and performer of the smash-hit comedy-cabaret The Worst Little Warehouse in London which completed a world tour in 2019, performing at the Melbourne International Comedy Festival, the Adelaide Fringe Festival (Winner of Best Cabaret) The Edinburgh Fringe Festival (Nominated for Best Musical) and the Kings Head Theatre in London and subsequent UK tour.

UK Credits include Bearded Lady in Side Show (Southwark Playhouse), Dolly Tate in Annie Get Your Gun (The Union Theatre) Natalie in Tainted (The White Bear), Jack in Jack and the Beanstalk (WEIS) and Rosina in the feature film Bardo (Feature One Productions). Australian credits include Sheila in Hair (StageArt), Androgyny at Dracula's Cabaret (Newman Entertainment) Tony in North Side Story (Melba Spiegeltent), Maureen in Rent (Centrestage), PINK in The Pink Show (Vavala Productions), Lily St Regis in Annie (Mad About Theatre), Storyteller in Children of Eden (Magnormos) and Justine Moritz in Frankenstein: A New Musical (WMTC). Lala is proudly represented in Australia by Dior and Karen at Expression Arts Management.

www.lalabarlow.com

@aawalkerphoto 📸

@madelinenibali costume design 🧵

@iamslyounger @adamgardner26 concept design 👩🏾‍💻👨‍💻 Tix: http://www.theatreworks.org.au/program/voldemort/

www.saltytheatre.com.au 🖱

#hufflepuffpride

Congratulations to the team from The Bakers Dozen for bringing the hilarious and yes disturbing production of The Hitmen by Mish Wittrup to Theatre Works.

We had such a lovely opening night with the foyer abuzz with laughter and the infamous Theatre Works cheese board.

This show is nearly sold out so don’t miss the fun book now

BOOK here https://bit.ly/39tJelf

Before Voldemort was He Who Must Not Be Named, he was just Tom Riddle, another moody teen that couldn’t talk to girls. Join Tom and his Hogwarts classmates on a hilarious musical adventure packed with magic, hormones and more than a few murders. This is a Harry Potter musical parody that is sure to leave you spellbound!