Ryan Gonzalez as his comic alter-ego….. Ryan Gonzalez. Photo: supplied
Ryan Gonzalez, Spanish singer/dancer and leading man of telenovela, is a superstar all over the Latin world – and in parts of South Korea – but he is yet to crack it in the English-speaking world thanks to his one-time friend, now sworn enemy, Ricky Martin.
In Australia for first time, he was to have performed at the Sydney Cricket Ground but due to a rather mysterious ticketing mix-up the venue was suddenly unavailable (guess who had the dates) and so rather than disappoint his fans, he decides to unleash his “hispanic attack” at the rather smaller Hayes Theatre Co.
Ryan Gonzalez is the comic creation of his real-life musical theatre performer namesake, whose credits include Strictly Ballroom, King Kong, Legally Blonde, Violet and the forthcoming Kinky Boots. He is currently dancing in Opera Australia’s new production of Carmen at the Sydney Opera House.
In his first cabaret show Hispanic Attack!, written and directed by Richard Carroll, Gonzalez unleashes the ultimate hip-swivelling Latin lothario, who loves the ladies almost as much as himself, keeping count of his virgin conquests with the number of ruffles on his unbuttoned shirt.
Telling the story of his life from humble beginnings as the only son in a family of 18 children (dutifully naming all 17 sisters), Gonzalez takes us through his life from his discovery on a children’s television talent show, to stardom in a boyband with Ricky Martin, whose subsequent betrayal has left him eternally embittered despite performing at the Eurovision Song Contest three times.
The real Gonzalez is a fabulous dancer and a strong singer and actor. He fully inhabits his self-obsessed comic alter-ego, sustaining the heavy accent and character with oodles of pizzazz. Accompanied by musical director Conrad Hamill on keys, the soundtrack to the show includes hits by the likes of Gloria Estefan, Santana, Jennifer Lopez, Shakira and even his nemesis Ricky Martin.
Having starred in a production of The Phantom of the Opera with Christine Aguilera, who was supposed to appear but has gone the same way as the SCG booking, there’s also a very funny version of All I Ask of You in which he sings Christine in a soaring pop voice and Raoul in a traditional musical theatre tenor (even though he says he played the Phantom, but no matter).
Amy Campbell’s Latin-inspired choreography gives him the chance to make the most of his mobile hips and fleetest of feet and he struts his stuff with consummate flair, throwing in the splits for good measure.
The show explodes at a similar pitch throughout and many of the jokes centre around his gyrating groin, but Gonzalez plays the stereotype to the hilt with such infectious good humour, it’s a great deal of fun.
A week ago, the Hayes Theatre Co had its twice-yearly Coming Soon event at which they announced their program for the second half of this year. Although the company has only been in existence for 18 months, we’ve come to expect the Hayes to give a good launch – and so they did.
Hosted by David Campbell, one of the producers running the venue, the evening began with a lively video montage telling the Hayes story to date. Dedicated to the presentation of independent musical theatre and cabaret, it certainly illustrated what a great start the-little-venue-that-could has had.
Blasting off with Sweet Charity and The Drowsy Chaperone, other productions have included Blood Brothers, Miracle City, LoveBites, Next to Normal, new musicals Beyond Desire and Truth, Beauty and a Picture of You and the current production of Dogfight, as well as a cabaret festival and several Month of Sundays cabaret seasons. It hasn’t all been an unmitigated success but it’s been an exciting ride with some sensational high points, proving beyond doubt that the Hayes is an invaluable addition to Sydney’s musical theatre scene.
So what do they have in store for us for the rest of the year?
Cabaret Season 2015
Running from June 1 – 28, this year’s cabaret season includes 17 acts by artists including Marina Prior, Phil Scott, Amanda Harrison, Rob Mills, Tyran Parke, Mitchell Butel, Josie Lane and Damien Leith among others.
It begins on June 1 with Australiana: A Celebration of Australian Musical Theatre directed by Genevieve Lemon with Max Lambert as musical director. Featuring performers such as Nancye Hayes, Christy Sullivan and Patrice Tipoki, the concert will raise funds for the presentation of a new musical in November as part of the New Musicals Australia program, now being run by the Hayes.
The cast recording of Luckiest Productions’ acclaimed Miracle City, recorded at the Hayes, will be launched that night.
Phil Scott gave us a taste of his new cabaret show Reviewing the Situation, which he has written with Terence O’Connell and which he will perform as part of the cabaret season. Telling the story of Lionel Bart, composer of the musical Oliver! the character and concept would seem to be right in the pocket for Scott and one of the shows to look out for.
The Hayes will host its first children’s show when it presents Blue Theatre Company’s Akio! – the story of a shy, young boy who is bullied at school and escapes by immersing himself in video games. Things get strange when he and Harumi, the girl of his dreams, are sucked into a video game. Akio! plays on July 4 & 5.
Jaz Flowers sings Dead Girl Walking from Heathers. Photo: Noni Carroll
Trevor Ashley was on hand to discuss Heathers The Musical, which he will direct with a cast including Lucy Maunder and Jaz Flowers. A rock musical by Lawrence O’Keefe and Kevin Murphy based on the cult 1988 film, Heathers opened off-Broadway last year. It tells the deliciously dark story of Veronica Sawyer, a brainy, beautiful, teenage misfit who manages to become part of The Heathers, a powerful clique of popular girls all named Heather at Westerberg High School. When Veronica falls in love with new kid J.D. and Heather Chandler, leader of the Heathers pack, says she will ruin Veronica’s social life, there will be hell to pay.
The New York Times described the show as a “rowdy, guilty-pleasure musical”. Ashley’s production for the Hayes is the first time the musical has been staged outside the US. Flowers raised the roof at the launch with her blistering rendition of the number Dead Girl Walking. Heathers plays July 19 – August 9.
A hit in Melbourne, Left Bauer Productions brings its acclaimed production of Terence McNally’s renowned play Masterclass to the Hayes. Inspired by Maria Callas’ 1971 visit to New York’s Juilliard School of Music, the production stars Maria Mercedes, who recently won a Green Room Award for her portrayal of Callas. The cast also includes Blake Bowden who sang Recondita Armonia from the opera Tosca at the launch. Fast becoming a regular at the Hayes, Campbell quipped: “we’re not going to let him go until he gets it right!”
Masterclass plays August 12 – 30.
Amy Lehpamer sings It’s All Right With Me from High Society. Photo: Noni Carroll
The Hayes Theatre Co will present Cole Porter’s classic musical High Society. It’s the first show presented solely by the Hayes rather than with one of the production companies involved with the theatre, or an external producer. Richard Carroll will serve as producer.
Amy Lehpamer will play Tracy Lord, the gorgeous, privileged but coolly pretentious young socialite, whose swelegant wedding plans are thrown into disarray when her ex-husband turns up as well as a pesky, undercover, tabloid reporter. Directed by Helen Dallimore, the cast will also include Bert LaBonte, Bobby Fox and Virginia Gay – or “Amy Lephamer, Bert LaBonte, Bobby Le Fox and Virginia Le Gay” as they will be known for the production, joked Dallimore.
Singing It’s All Right With Me, Lehpamer – who is on an incredible roll right now – showed why she’s been cast as Tracy Lord.
High Society plays from September 4.
Highway Run Productions (Toby Francis and Lauren Peters) will present Jonathan Larson’s rock musical Rent in association with the Hayes. Loosely based on La boheme, Rent is set in New York City’s East Village, over the course of a year in the early 1990s, where a group of impoverished artist friends struggle to live, love and create under the shadow of the HIV/AIDS epidemic The cast of Dogfight performed the song Seasons of Love from the show and set spines tingling.
Rent plays October 8 – November 1.
Mitchell Butel will direct the musical Violet with book and lyrics by Brian Crawley and music by Jeanine Tesori, which he described as his favourite Broadway show of the last 10 years. A road movie of a musical, it is based on a short story by Doris Betts called The Ugliest Pilgrim about a young, disfigured woman who embarks on a bus journey from North Carolina to Oklahoma to find the preacher she believes can heal her. The production will star Samantha Dodemaide who sang the numbers All to Pieces and Lay Down Your Head.
Violet plays November 2 – December 20.
I Might Take My Shirt Off
As part of A Month of Sundays, Dash Kruck will perform his cabaret show I Might Take My Shirt Off, which premiered at the Brisbane Powerhouse in February. Featuring original songs by Kruck and composer Chris Perren, Kruck performed a short extract from the show. He plays Lionel, a timid flooring salesman and cabaret virgin struggling to cope with a relationship break-up, who finds himself on stage when his German therapist Grizelda pushes him into doing a cabaret show as a way to express himself. On the basis of the launch taster, it’s a very funny evening.
I Might Take My Shirt Off plays on September 20 & 27 and on October 11.
Nicholas Hammond and David Campbell discuss Neglected Musicals’ Dear World. Photo: Noni Carroll
Neglected Musicals will present Jerry Herman’s Dear World, directed by Nicholas Hammond. Based on Jean Giraudoux’s play The Madwoman of Chaillot, Hammond described the 1969 musical as “25 years ahead of its time”. The Broadway production, he said, was over-produced; as a small production, he believes it works a dream. The staged reading will feature Genevieve Lemon and Simon Burke, with Max Lambert as musical director. Dear World will be presented on August 3.
It was also announced that the Hayes has launched TALK through its website, which consists of regular podcasts and a series of editorials by Daily Review arts writer/reviewer Ben Neutze about musical theatre and cabaret.
All up, it’s an impressive line-up from one of the exciting companies in town.
Elise McCann is a real delight in Everybody Loves Lucy, her cabaret show about Lucille Ball, giving a beautifully pitched, thoroughly engaging performance, which sees her shining brighter than the show itself.
Ball began her career on Broadway, played some small roles in Hollywood during the 1930s and 40s and then, together with her Cuban musician husband Desi Arnaz (with whom she eloped in 1940), changed the face of television comedy with her seminal sitcom I Love Lucy.
Running for six years from 1951 and then a further three years in various incarnations under titles including The Lucy-Desi Comedy Hour, I Love Lucy was the most popular TV show in the US at one point.
An astute businesswoman behind the scenes, Ball became the first woman to run a major television studio in 1962. Meanwhile, early in her career, the House Un-American Activities Committee investigated her links to communism.
It’s too big a life to fit into a one-hour cabaret so McCann and co-writer Richard Carroll have sensibly focused on the I Love Lucy years.
Set in the TV studio, Everybody Loves Lucy avoids using a narrative voice to tell us about her career (a common device in cabaret and often a clunky one). Instead the show traces the development of the pioneering sitcom through various vignettes and a series of comedy sketches.
In one scene, we see Ball negotiate her way to becoming the first woman to appear on screen pregnant – or “expecting” as conservative television executives preferred to put it.
The show also goes behind-the-scenes where the pressures on Ball’s marriage and family life (she and Arnaz had two children she saw little of) were such that as soon as the sitcoms with Arnaz ended in 1960, she filed for divorce.
Without actually impersonating Ball, McCann captures a vivid sense of the famously ditzy, redheaded housewife Ball portrayed on screen, nailing her zany brand of vaudevillian comedy with its clown-like physicality. She also conveys a strong sense of the era.
Her comic timing is spot-on throughout. Some of the skits are funnier than others – mainly because much of the humour is now so dated – but she is hilarious in a sketch promoting a health tonic with a mouthful-of-a-name, which becomes increasingly unpronounceable as she takes swigs of the alcohol-laced concoction.
McCann also plays a housewife, in frilly apron, who is a huge fan of I Love Lucy. It’s a clever way to indicate the huge following the show had, as well as its impact, particularly on women, with the housewife beginning to think that maybe she too could take on some part-time work.
Musical director Nigel Ubrihien (sporting a dreadful black wig) does a good job of characterising Arnaz and also voices other characters including the studio executives from the piano.
Ball was no singer and there are few songs associated with her, so McCann and Ubrihien have chosen a series of numbers from the era to relate to moments in the show including Be a Clown at the beginning and Make Someone Happy, which is used as something of a theme through the show. Though McCann sings beautifully, the songs aren’t terribly memorable on the whole or particularly moving.
The show itself breezes along but often feels rather cursory, touching on topics, ticking off moments, but without really mining the drama in them. So much is dealt with so quickly that there’s not a great deal of insight into Ball as a person and emotional moments don’t land as strongly as they might.
The show assumes some knowledge of Ball; if you didn’t know anything about her, or had never seen I Love Lucy, I’m not sure that you would fully appreciate her impact as a comedienne.
Director Helen Dallimore stages the show well, using a dressing table on one side for the backstage scenes, and an armchair, table and lamp on the other for the housewife’s. Tim Chappel has designed a dress that transforms itself in an instant with a flap that drops to become an apron, and Christopher Horsey’s choreography suits the style and era.
Though Everybody Loves Lucy feels underwritten at times, McCann is a wonderful draw-card, giving a very enjoyable performance that confirms her considerable talent. I can’t wait to see her as Miss Honey in Tim Minchin’s musical Matilda, opening in Sydney in August.
Everybody Loves Lucy runs at the Hayes Theatre Co until March 28. Bookings: www.hayestheatre.com.au or 02 8065 7337
In February last year, the Hayes Theatre Co burst onto the Sydney musical theatre scene with a thrilling production of Sweet Charity directed by Dean Bryant and starring Verity Hunt-Ballard.
The ingeniously staged, dirtied-up, gritty take on the 1966 musical had audiences and critics raving (you will find my review on this blog) and three days after opening you couldn’t get a ticket for love nor money.
The show went on to win three Helpmanns for Bryant, Hunt-Ballard and choreographer Andrew Hallsworth and has nine nominations at the 2014 Sydney Theatre Awards to be presented tomorrow (January 19).
The announcement of a remount at the Sydney Opera House’s 400-seat Playhouse Theatre and then a tour to Canberra, Melbourne and Wollongong generated much excitement. But how would the production – created for the intimacy of the 110- seat Hayes Theatre – fare in a bigger venue?
Well, it has sashayed seamlessly into the Playhouse where it received a rapturous response at Friday’s opening night.
Inevitably you lose some of the intimacy but there are compensations. Hallsworth’s fabulous choreography (with nods to Fosse) has more room to sharpen and breathe for starters. And if anything, the performances seem more detailed than ever as most of the original performers revisit their roles.
The grungy staging is essentially the same: an inspired use of a couple of two-way mirrors, a few chairs, a costume rack and a red neon sign at the back saying, “Girls, Girls, Girls” (set design by Owen Phillips).
Tim Chappel has revamped some of the costumes adding extra colour and sparkle to various outfits including the witty, surreal costumes for The Frug, which gives the production a little more visual zing in the larger space.
Hunt-Ballard, who gave a sensational performance last time around as Charity Hope Valentine – the dance hall hostess with a heart of gold who keeps looking for love (and at one point an office job) as a passport to a better life – is more stunning than ever.
She radiates such warmth, such sweet, kooky naivety and such sunny optimism that her Charity is irresistibly endearing. Her comic timing is a knockout but always there is the knowledge that Charity uses ditzy humour to deal with her hurt and pain, as a way to bounce back, until that final, terrible let-down.
Hunt-Ballard inhabits the role completely. She sings superbly, dances well and her acting is sublime. But never do we feel that she is busting out a big song-and-dance number. Always the songs emerge organically from the character and the situation whether it’s the exuberant, show-stopping If My Friends Could See Me Now or Where Am I Going? which she delivers in heartbreaking fashion.
She is beyond divine in the role; it’s hard to imagine anyone playing Charity better.
Bryant brings this kind of truth to every aspect of the production. Character and emotion colour every song. Hey Big Spender erupts with the crowd-pleasing blast you expect but the girls look blank, emotionally shutdown, as they display their wares in the meat-market line-up.
Verity Hunt-Ballard, Kate Cole and Debora Krizak. Photo: Jeff Busby
When Hunt-Ballard, Debora Krizak as Nickie and Kate Cole as Helene (two of the other girls from the seedy Fandango Ballroom where Charity works) sing There’s Gotta Be Something Better Than This it feels as exuberant as ever but tinged with palpable sadness: three feisty women, perilously close to being over the hill, knowing they will probably never escape this life.
Cole is new to the production and she is a great addition to the cast, bringing a real weight to the role of Helene.
Martin Crewes reprises the roles of Charlie, Vittorio Vidal and Oscar and again creates wonderfully delineated characters. His suave Vittorio is particularly strong and he sings Too Many Tomorrows with a lovely, classic Italianate tenor sound, then slides effortlessly into a nerdy, Jerry Lewis-tinged Oscar. In fact, his performance sits better in the larger space than in the tiny Hayes where it felt a tad outsized.
Verity Hunt-Ballard and Martin Crewes as Oscar. Photo: Jeff Busby
Krizak is once again a delight as the hard-boiled Nickie, nailing her fierce one-liners, and also as Ursula, Vittorio’s glamorous, jealous girlfriend.
As at the Hayes, the band – led by musical director Andrew Worboys on keys – sits along the back of the stage but it’s great to see them given more space and visibility. Worboys’ fantastic, funky, electronic orchestrations of the songs are again a winning, driving element of the production.
Bryant integrates the musicians into the production with Kuki Tipoki playing guitar as well as Big Daddy along with several ensemble roles, while Worboys plays Fandango owner Herman.
Original producers Luckiest Productions (Lisa Campbell, David Campbell and Richard Carroll) and Neil Gooding Productions are joined for the tour by Tinderbox Productions (Liza McLean). They should have a huge hit on their hands.
This is one of the most exciting musical theatre productions I’ve seen in a long time: a show given fresh life and raw, gritty currency by a superb creative team and cast. It has made the leap to the larger space in style. Don’t miss it.
Sweet Charity plays at the Sydney Opera House until February 8; The Playhouse, Canberra Theatre Centre, February 11 – 21; Playhouse, Arts Centre Melbourne, February 25 – March 8; Illawarra Performing Arts Centre, Wollongong, March 11 – 15
The Independent Music Theatre team. Left to right: Lisa Campbell, David Campbell, Neil Gooding, Michael Huxley, Richard Carroll, Simone Parrott, Michelle Guthrie, Jay James-Moody and Jessica Burns
Yesterday’s announcement that a new, not-for-profit consortium of producers and organisations called Independent Music Theatre (IMT) is to run the Reginald Murphy Hall in Potts Point as a home for small-scale music theatre and cabaret has my heart singing.
It’s exciting news given the potential for the company to become an important and much-needed addition to Sydney’s musical theatre scene.
Currently known as the Darlinghurst Theatre, the 111-seat venue was home to the Darlinghurst Theatre Company from 1999 until this March when the company vacated it to move into the new Eternity Playhouse in East Sydney, opening in November.
Having won the tender from the City of Sydney Council to become the next resident company, IMT will announce a new name for the venue in the coming weeks.
Describing themselves as a “collaborative partnership”, IMT comprises a team of organisations who already have runs on the board producing small-scale musicals and cabaret: Luckiest Productions (David Campbell, Lisa Campbell and Richard Carroll), Neglected Musicals (Michelle Guthrie), Squabbalogic (Jay James-Moody and Jessica Burns, who are soon to stage Bloody Bloody Andrew Jackson at The Factory in Marrickville), Neil Gooding Productions (who produced the Australian musical The Hatpin by Peter Rutherford and James Millar) and independent producers Michael Huxley and Simone Parrott.
Commercial musicals currently dominate the music theatre scene in Sydney – and there aren’t that many of those each year given the relatively limited audience compared to London or New York.
It’s not that Sydney doesn’t see small-scale, independent musicals but the productions are sporadic and scattered around various venues. Presenting regular shows in one venue will give the work a very useful focus.
Having their own home, where they can support each other, will also give the companies involved a better chance to survive and thrive.
Initially IMT’s audience is likely to be industry-based along with serious musical theatre fans but if the work is good a broader audience will hopefully follow pretty quickly. London’s Menier Chocolate Factory is an obvious model, whose success will doubtless be encouraging for the IMT team.
The chance to see musicals from overseas that would otherwise be unlikely to make it to our shores – whether that be little seen classics or more recent, innovative work – is so important for the development of the artform, as well as for the people who want to make it and perform in it.
Developing new Australian musicals – that most challenging of theatrical beasts – is something that IMT will hopefully be well placed to undertake in the fullness of time.
It is a small venue but the IMT team are specialists in the field of small-scale music theatre and cabaret and should have the expertise and nous to choose the right shows and make them work in the intimate setting.
Neglected Musicals is already associated with the venue having presented terrific rehearsed readings of nine musicals there including No Way to Treat a Lady, On the Twentieth Century and Variations by Australia’s Terry Clarke and the late Nick Enright.
Stephen Colyer’s Gaiety Theatre (not associated with IMT) has also had success staging musicals there, including Hello Again and Kiss of the Spiderwoman.
The first IMT production is likely to be presented at the start of next year. I can’t wait.
Sarah-Louise Young discusses her new cabaret show Julie Madly Deeply
Over the years, people have often said to Sarah-Louise Young that they can see a bit of Julie Andrews in her.
“It’s probably just because we’re both very well spoken,” says the British musical theatre and cabaret performer in her crisp, beautifully enunciated English accent.
Modesty aside, Young also has a great singing voice and though she wouldn’t consider comparing herself to Andrews – “that would be scandalous” – she is excited about performing the Andrews songbook in a new cabaret show called Julie Madly Deeply.
The songs will be intertwined with stories and anecdotes from Andrews’ life along with “a selection of witty and insightful elaborations” as the press release puts it, promising a show in which “Miss Squeaky-Clean finally comes clean.”
But Andrews fans can rest assured that though Julie Madly Deeply may be a little mischievous at times, it comes from a place of love.
“It’s always been our benchmark that if she ever came to see the show she would love it. We are describing it as a cheeky and affectionate love letter,” says Young.
Julie Madly Deeply starts its Australian tour at the Noosa Long Weekend Festival on June 16 then goes to the Adelaide Cabaret Festival followed by dates in Victoria, New South Wales and the Northern Territory.
It follows in the wake of Dame Julie herself, who tours Australia for the first time this month. However, Andrews doesn’t sing anymore after her four-octave voice was damaged during a throat operation in 1997, leaving it to Young to turn on the pure but killer vocals in songs from Mary Poppins, The Sound of Music and My Fair Lady as well as less well known Andrews numbers.
Young’s cabaret career is riding high. She won Best Musical Variety Act at the 2013 London Cabaret Awards and in 2011 was named one of Time Out London’s Top Ten Cabaret Artists.
In 2010, David and Lisa Campbell brought her show Cabaret Whore to the Adelaide Cabaret Festival then toured it around Australia the following year. During this time, Young met Richard Carroll, who works at the Campbells’ production company Luckiest Productions. They hit it off and co-conceived Julie Madly Deeply, which Carroll is producing.
Sarah-Louise Young will play a Julie Andrews impersonator in Julie Madly Deeply
Young has been a fan of Andrews since childhood. “When I was a little kid my parents got divorced and I thought if Julie Andrews came in, married my Dad and made a dress from curtains then everything would be all right,” she says.
When it came to putting a show together about her, Young says they wanted to avoid doing something that comes across like “Wikipedia live. You can’t tell anybody’s life in 55 minutes, it’s just not long enough,” she says. Nor did she want to pretend to be Andrews.
“My producer Richard and I felt very strongly that nobody can sing like Julie Andrews. You can’t impersonate that voice. There is so much love and respect for her that we didn’t want to put words into her mouth.
“Obviously we’ve read her autobiography and watched hours and hours of documentaries and we thought very, very carefully about the best framing device. It would be easy to do an hour of her songs and chat about them but the device we use is that I play a Julie Andrews impersonator doing a tribute act,” says Young.
“That person can investigate other people’s relationships with Julie Andrews so I play Audrey Hepburn, Richard Burton, Carol Channing, Liza Minnelli – little bits of all of these. So there will be times when I do my best to sound like her but it’s also a lovely excuse to explore the other relationships in her life.
“We’ll sing the hits from her shows and also a few unexpected songs that you don’t associate with her. There’s such an amazing back catalogue of songs so we’re going to do a medley at the end because we just couldn’t fit in all the songs that we wanted to.”
Young believes that although Andrews tried to change her sweet, wholesome image later in her career with some interesting choices including working with Hitchcock and famously going topless in the film S.O.B. directed by her husband Blake Edwards, “it was really tough for her. People wanted to see her in that maternal role because it made us feel safe.
“She was obviously a lovely woman but it was well known that she swore like a trooper and was a great practical joker. She worked with Hitchcock, she did some really unusual and interesting stuff but people didn’t want her to break the mould.”
Young hopes that people who see Julie Madly Deeply “will fall in love with the songs again and go home and watch the movies, and question their own relationship with her.”
Noosa Long Weekend Festival, June 16; Adelaide Cabaret Festival, June 19 – 20; Chapel off Chapel, Melbourne, June 21 – 22; Karralyka Centre, Ringwood, June 25; The Q, Queanbeyan, June 26; Araluen Arts Centre, Alice Springs, June 29; Seymour Centre, Sydney, July 4 – 6; Riverside Theatres, Parramatta, July 7; Glen Street Theatre, Belrose, July 9.
An edited version of this story appeared in the Sunday Telegraph on April 7.