STAGES with Peter Eyers
Summary: STAGES is the podcast that accesses a variety of people whose professional life is about connecting with an audience. A host of creative artists and practitioners reflect on their career, their process and what matters - to them. Some have made the arts a lifetime pursuit, some explain how their career became a happy accident ... but all describe the challenges and demands - and ultimately celebrate why there's no business like show business! STAGES talks to talent from front of house and backstage - directors, designers, drag artists and doormen ... performers, producers and publicists ... teachers, technicians and talent! Whatever stages it takes to engage and affect an audience - or whatever it takes to carve out a career in the arts - we'll examine it in STAGES. STAGES is the recipient of the Best New Podcaster Award at The Australian Podcast Awards in 2019.
Brian Castles-Onion is one of Australia's most beloved and exciting opera conductors. His impish charm and infinite knowledge of the operatic repertoire, historical perspectives and vocal technique make him an engaging authority on our rich operatic past. It is no surprise then, to learn that his lifetime of collecting recordings of vocal artists, now sees him as a passionate preservationist for some of Australia's supreme singers. Brian is the producer of the acclaimed CD series which celebrates our operatic pioneers: Great Australian Voices. The collection is released through Desiree Records. There have been ten volumes produced, each serving delicious excerpts from the careers of singers that include Bob Allman, Nance Grant, Maureen Howard, June Bronhill, Marie Collier, Bob Simmons and Geraldine Turner. The recordings are a treat and offer the listener the opportunity to hear how our musical ancestors sounded; what they sang, how they sang, who they sang with and what they thought about their roles. An insightful historical and pictorial booklet accompanies each volume with much fascinating detail to devour. Brian joined Stages to generously share knowledge of these great singers and the artistic legacy they leave.
David Spicer's enthusiasm for the arts in all its forms is palpable. His participation exists in several identities; producer, publisher, performer and patron. He is a regular at the theatre and relishes nurturing new work. It's a broad portfolio. Spicer is a journalist and worked for the A.B.C. in metropolitan radio and television, delivering news and current affairs. He was acknowledged with the Walkley Award two years running, for Best Radio Current Affairs Story. Equally at home on the stage, he has performed most of the lead tenor repertoire in the Gilbert and Sullivan cannon; in concerts and production. In 2008, he acquired management of Stage Whispers Performing Arts Magazine; an essential guide for the theatre goer and participant, delivering news, reviews and listings. Since 1995, Spicer has been the Communications Officer for The Association of Community Theatre. In this capacity he helped found the ACT's What's On brochure and a bi-annual community theatre conference. He began his foray into representing stage plays and musicals in 1998, when David Spicer Productions licensed 2 musicals. The company now licences more than 200 productions in countries all over the world. David joined Stages to examine his many roles and the vital need for an Arts experience in society - especially in the present, challenging times.
Prior to arriving in Australia, Richard Carroll had only tentatively contemplated a career in the theatre. His showbiz participation had consisted of school productions and writing questions for Quiz programs in the UK. Casting and production experiences in television followed, providing him with essential skills to navigate the creative roles of writer, producer and director. Carroll is one of Australia's leading proponents of the Musical and is a founding member of The Hayes Theatre Company in Sydney; an organisation dedicated to the celebration and preservation of the musical and cabaret forms. His impressive list of credits as Producer or Writer include Everybody Loves Lucy, Julie Madly Deeply, Darlinghurst Nights, High Society and Sweet Charity - the production that alerted the industry that something special was happening at The Hayes. As a Director, his highly successful production of Calamity Jane, starring Virginia Gay, played throughout Australia, delighting audiences with a new look at an old favourite. Other shows seeing Carroll at the helm include Spamalot, Gypsy, An Act of God, Once and Sideshow; an array of product exploring classical Broadway fare and contemporary works. In November he directs the iconic Oklahoma for The Black Swan Theatre Company in Perth. You can also find Richard in a back catalogue of episodes for his podcasts: At The Hayes and Every Musical Ever. Today, you'll find him on Stages, reflecting on his journey to Australia and the theatrical delights he has discovered and made significant contribution.
Oscar Wilde once said, "There is only one thing in the world worse than being talked about, and that is not being talked about." Though he was advising 'Dorian Gray', Wilde could quite easily have been instructing the pursuit of the Publicist. An essential tool in the promotion and marketing of events and entertainment is the publicity machine; making us aware, engaged and informed. For over 30 years, Ian Phipps has worked in a variety of capacities communicating a product. He has served stints as Publicity Manager at SBS Television, Marketing Manager of Riverside Theatres Parramatta, Publicity and Promotions Manager of the Australian Film, Television and Radio School; and since 2009 navigation of his own promotions and publicity house, IP Publicity. It is a role demanding enormous energy, strategy and an awareness of all platforms and how they might best service the client. Large scale productions and high profile artists benefit from Ian's management of media communications, and creative flair, in guiding the public awareness. Publicity and Promotions are another intriguing facet of our Arts industry. Ian provides great insight to his process and shares some delightful tales from his extensive experience as a Publicist working with creatives, media and the audience.
Simon Burke dislikes waiting in the wings. His immense passion and energy would see him ideally leave the dressing room to arrive directly on stage and into the job of story-telling. It is a routine that can easily be applied to Simon off the stage. He moves with great enthusiasm towards each project and is eager to craft his own projects too; or provide support to colleagues and industry in advocacy roles. A vast array of performances in musical theatre have given us his Marius in the original Australian company of Les Miserables, Billy Flynn in Chicago and Billy Crocker in Anything Goes. Acclaim abroad has seen Burke feature regularly in The West End in productions of La Cage Aux Folles, A Little Night Music, The Phantom of the Opera; and The Sound of Music at The London Palladium. His passion for the Arts has also seen him attend to the role of National President of the Media, Entertainment and Arts Alliance; a role he served for 10 years working for better conditions and consideration of fellow artists. It continues to be a rewarding and busy time on stage and off for Simon Burke. He has traversed many stages and shares fascinating insight and reflection on a career that has seen him journey from talented child actor to an accomplished and regarded actor, and personality, in theatre and on screen. The Stages podcast is available from iTunes, Spotify and Whooshkaa.
Simon Burke was recently cast as Hugo, the drag mentor to the title character in the musical Everybody's Talking About Jaimie. He has entered an age bracket that finds him playing a succession of paternal roles in The Sound of Music, Catch Me If You Can, La Cage Aux Folles and Tommy Murphy's Strangers in Between. And for two decades he worked alongside a couple of the most famous bears in the business; Teds, Big and Little. Oh my! All of these are just some of the highlights of a career that continues to be varied and stellar. At the age of 13, Simon Burke landed the role of Tom Allen in Fred Schepsi's acclaimed feature film The Devil's Playground. His performance would reward him with the AFI award for Best Actor and the accolade of being the youngest recipient honoured with the award. He would return to The Devil's Playground 38 years later, reprising the role of Tom and serving the project as co-creator and executive producer. This television series would receive AACTA and Logie Awards. Identifying the moment he walked into an empty theatre and ventured onto the stage - he immediately recognised that this is where he wanted to be. Burke has been in regular work since his early debut. He completed an apprenticeship 'on-the-job' with most of the country's leading actors; early gigs had him working alongside Peter Carroll, Robyn Nevin and Maggie Dence. He has performed across all platforms; theatre, television, film, cabaret, musical theatre and a host of the iconic Playschool. A vast array of roles in musical theatre have given us his Marius in the original Australian company of Les Miserables, Billy Flynn in Chicago and Billy Crocker in Anything Goes. Acclaim abroad has seen Burke feature regularly in The West End in productions of La Cage Aux Folles, A Little Night Music, The Phantom of the Opera; and The Sound of Music at The London Palladium. Life in the theatre has also seen him attend to the role of National President of the Media, Entertainment and Arts Alliance; a role he served for 10 years working for better conditions and consideration of fellow artists. He was made an Officer of the Order of Australia in 2015 for distinguished service to the performing arts as an actor, singer and producer, and through senior advocacy roles for performer's rights and access to development and education programs. It continues to be a rewarding and busy time on stage and off for Simon Burke. We discussed the many stages he has traversed - and a lot more - in this reflective episode of Stages.
Michael Falzon is the real deal. He is charm personified and comes with an engaging sense of humour and an infinite industry wisdom born of extensive time as a performer and producer, in the business we call show. Upon any meeting with Falzon I best describe him as possessed of a gentle bonhomie. He is humble and modest but at the same time can be direct, frank and insightful. His early career saw him singing professionally in Brisbane with Vocal Point, an 8-part group specialising in close harmony. So too began his extensive travel nationally and internationally. Early work on the stage provided him with an opportunity to explore classical musical theatre styles and operetta in a succession of shows that included The Pirates of Penzance (with Jon English), HMS Pinafore, Joseph and The Amazing Technicolor Dreamcoat (with David Dixon) and Hello, Dolly! (with Jill Perryman). These experiences would lay valuable foundations that would see him develop terrific versatility as a stage performer, and vocal skill that would extend to rock and popular repertoire. In 2003 he was rewarded with his break-through role in We Will Rock You. Selected by creators Ben Elton and Queen's Roger Taylor and Brian May, his performance as 'Galileo Figaro' earned great acclaim. After a tour nationally, Falzon played the show in Japan and throughout the United Kingdom. We Will Rock You offered him a chance to play huge stadiums in arena performances. This was an experience also provided by his performance as 'the Artilleryman' in Jeff Wayne's musical version of The War of The Worlds. Falzon's extensive on stage work has included Hedwig and The Angry Inch, Ordinary Days, Floyd Collins, Jesus Christ Superstar, Rock of Ages, Chess and an opportunity to craft the role of 'Leo Szilard' in the Australian/USA co-production of Atomic, and early work on the developing rock opera Get Jack. I know you'll enjoy this conversation as much as I enjoyed recording this conversation, with the bouyant Michael Falzon.
For over 30 years Gill Minervini has produced some of Australia's most engaging and successful international events and festivals, creating unforgettable, immersive experiences for diverse audiences. She is one of Australia's creative leaders - from festival , event and theatre director to television and radio presenter, food curator and producer - Gill's experience means successful delivery of outstanding creative ideas, every time. Early creative roles included a position as the inaugural Festival Director for the Sydney Gay and Lesbian Mardi Gras in the late 1980's; an extraordinary time for the gay community. For 17 years she was Creative Director for the City of Sydney, overseeing annual events that included Chinese New Year and Christmas celebrations. The canvases on which she creates are vast and varied. Her event, festival and theatre accomplishments include The Rugby League World Cup 2017, Art Moves - a Public Art Project, Newtown Festival, Barangaroo Welcome Celebrations, Winter Feast Dark MoFo inTasmania and the Australian Theatre of the Deaf. Such product also allows her a plethora of platforms on which to present such expansive production. A mantra she shares with her teams states they are 'in the business of creating memories'. All of us can recall the first time we shared in the palpable experience of a particular event or festival. An immersion amongst community and the theatre of life. Vital experiences that feed into the human condition. Gill Minervini loves her job and communicating stories. It's obvious in this conversation. She provides insight, reflection and passion for the craft of making Big Art and telling vital stories with a broad palette.
Lyn Collingwood is known to a legion of fans as Summer Bay busybody, 'Colleen Smart'; a role she played for 13 years in the iconic Australian soap-opera Home & Away. Playing a character for this length of time is an opportunity rarely afforded to actors. Series television provides ample necessity to guide, craft and inhabit such roles. In this episode, Lyn elaborates on the many rewards and challenges that came with maintaining and delivering the character of 'Colleen'. Commencing her acting career at the Sydney University Drama Society, her contemporaries and fellow practitioners included Arthur Dignam, Richard Wherrett and Germaine Greer. Early work performing Pinter, gave her an appreciation of style and a love of dramatic text. Skills that have supported easy investigation of new plays and television scripts. Her professional acting career commenced later, at the age of 35. Collingwood has worked as a social worker and as a teacher. She has also worked in research and as an editor of The Australian Encyclopaedia. While residing in the Inner West she discovered the New Theatre, based in Newtown. She has directed and performed for the company over several decades. Lyn is also a font of knowledge regarding the history of the company, and shares much fascinating reflection of the 87 year old institution. The New Theatre commenced life as the Sydney Workers Art Club, opening with the slogan, 'Art is a Weapon'. In 2009 she launched 'Players in the Pub', a regular series of play readings, providing audiences and actors with a forum for celebrating theatre and writing. The ensemble presents plays rarely performed and that might provide an engaging curiosity to the theatre historian. It is a life in the arts passionately explored; and it was a delight to enjoy some of the experiences, wisdom and wit of Lyn Collingwood.
Some 23 years after playing Christine Daee in the Australian production of The Phantom of the Opera, Maree Johnson is back with the show - on Broadway - this time playing the mysterious Madame Giry. It is a show that has great sentimental meaning for Johnson and the experience allows her two very different access points to a story that has thrilled audiences for several decades. The desire to act had been present since childhood. Bargaining with brothers to switch the TV from cricket to a musical proved a regular challenge. Such determination was always going to reward with Johnson ultimately giving Australian audiences tremendous delight in a host of iconic roles - Maria in West Side Story, Eliza in My Fair Lady, Grizabella in Cats and Cosette in Les Miserables, to name a few. A win in the Sydney Cabaret Convention in 1998 took Maree to NYC where a next exciting chapter was to unfold. She quickly established herself with performances around the USA in Zorba, Passion and Adam Guettel's Myths and Hyms. Marriage and family was also found, establishing Maree as very much a local. Maree was back in Australia recently and it was a great treat for Stages to sit down with her for a couple of hours to catch up on her journey over the past few years. Also to gain terrific insight, into what it takes to be a performer on Broadway and part of an iconic musical.
"The success of a theatre company comes down to providing good yarns that make audiences laugh and cry, and which take them on a journey" - Sandra Bates Sandra Bates retired as Artistic Director of The Ensemble Theatre in Sydney in 2015 after 30 years in the role. This innings makes her the longest serving Artistic Director in Australia. In fact the company has only had 3 A.D.s in its 62 year history. Sandra Bates' term followed that of the company's founder, Hayes Gordon. It was Gordon who was running acting classes that the then pharmacist Bates enrolled in, to pursue her artistic leanings. She had been an avid participant in school drama and was subsequently offered a scholarship for training in England at the end of her secondary education, but cautious parents advised a qualification and tertiary education to be essential. Theatre would be a constant call however. It was Hayes Gordon who advised Sandra that she would be an effective director. She began at The Ensemble as A.D. of the Studio's Rep.Theatre, eventually being appointed Artistic and Governing Director of the theatre in 1986. She introduced a subscription series to the company and continued to navigate a remarkable story of theatrical survival for the company who have only ever existed on box office and donations. They receive no public funding. Her extensive theatrical output includes plays by David Williamson, Emerald City and The Jack Manning Trilogy; Six Dance Lessons in Six Weeks, Barry Creyton's Double Act, Miller's Death of a Salesman and her final show at the theatre, Neil Simon's The Good Doctor. She has relished making theatre and telling stories; and in doing so, has affected the lives of audience members in immeasurable ways. Sandra is thrilled with retirement. It was a delight to meet this theatrical elder and to be taken on her incredible journey in this episode of Stages.
In Part 2 of the Stages' conversation with Producer John Frost, he describes the rise of the Gordon Frost Organisation and, after the tragic loss of his co-founder Ashley Gordon; the necessary task of taking the helm as C.E.O. of the company. G.F.O. launches onward and finds success with shows like Big River, South Pacific, Hello Dolly! and Smokey Joe's Cafe. Frost's production of The King And I, rewards with considerable triumph, scooping several Tony Awards after the production transfers to Broadway. The show hadn't been produced in Australia for 20 years. It was a major win for Frost, and opened many doors internationally. A West End production followed, with Elaine Paige playing Anna Leonowens. There have also been the theatrical misfires that confirm the business gamble of producing commercial product. Frost ponders these missteps and responds to the comments that have often questioned his choices of show, his casting decisions and his development of original product. He is loyal to a legion of performers who were on the ground floor of our industry and is enthused by any opportunity to develop a new 'star'. He is happiest when he's making theatre and still gets star-struck when finding himself working with idols like Julie Andrews, who directed his 60th Anniversary production of My Fair Lady. During the early 2000s, Frost partnered with James Erskine and Basil Scaffidi's Sports Entertainment Ltd (SEL) and expanded the notion of entertainment, creating arena spectaculars with Grease and The Main Event featuring Olivia Newton John, Anthony Warlow and John Farnham. Eventually re-forming GFO, he gave us The Sound of Music (starring Lisa McCune), The Wizard of Oz (starring Nikki Webster), Annie (starring Anthony Warlow) and Footloose. The repertoire goes on with productions of Wicked, The Producers, Phantom of the Opera, Dream Lover and Legally Blonde. The list is extensive. In 2020, The Gordon Frost Organisation presents Chicago, Charlie and the Chocolate Factory, Shrek, The Book of Mormon, Nine to Five and Waitress throughout Australia. In part 2 of this absorbing conversation with impresario John Frost, he relishes the triumphs, analyses the disasters and contemplates the future of Musical Theatre and Entertainment. He is indeed evidence of a boy who had a dream, pursued it, and won.
Known affectionately as Frosty the Showman; impresario John Frost has been at the pinnacle of Musical Theatre in Australia for several decades. The Gordon Frost Organisation contributes much of the commercial product that traverses stages around the country. His productions have garnered a swag of local awards as well as two Tony Awards for musicals on the Broadway stage. Frost grew up in Adelaide and harboured dreams of a showbiz life. He'd stage backyard entertainments with his doting Aunt Mary playing Eliza to his Henry Higgins. He's been stage-struck ever since. It was a childhood influenced by a regular diet of television and Hollywood movies. A dalliance with amateur theatre in his teens provided him with the realisation that he was suited more to backstage. He left school at 15 and began his career as a dresser on the J.C. Williamson's production of Mame. Frost had found what he wanted to do and the young apprentice garnered enormous knowledge working his way through a succession of roles - Wardrobe Master, Office Assistant to Kenn Brodziak, Stage Manager, Company Manager and Actors Agent - each experience informing his prized accomplishment as Producer. In 1983 John Frost co-founded the Gordon Frost Organisation with Ashley Gordon. They took a lease on the University of Sydney's Footbridge Theatre and presented a succession of shows that would demonstrate to the pair the precarious nature of 'the business'. Shows emanating from The Footbridge included Women Behind Bars (starring June Bronhill), 'Night Mother (starring Jill Perryman and June Salter), Agnes of God and a 'just sensational ' production of Jerry's Girls. It's a riveting story and John speaks frankly and with great wit, about his journey and what is involved in being Frosty the Showman; producing commercial product, increasing the profile of musical theatre and delivering a magical experience to audiences.
Roland Rocchiccioli is a man of the theatre. His, is a celebrated career of more than 50 years. Comedian Billy Connolly said of him: 'His name is like alphabet soup'. Rocchiccioli spent his childhood watching the unfolding dramas in Gwalia, a town on the north eastern goldfields of Western Australia. He was schooled by nuns and monks in New Norcia. It was a unique childhood recounted in his engaging memoir 'And Be Home Before Dark'. A life in the Arts eventually called and in1966 he served an apprenticeship with a theatre company in Perth, learning much of the craft that would support him in his future roles - stage manager, actor, director, playwright, company manager and broadcaster. He has worked with the impresarios Harry M. Miller and Ken Brodziak on productions of The Rocky Horror Show, Hair and Jesus Christ Superstar. He's worked on Broadway and The West End with luminaries like Ingrid Bergman, Debbie Reynolds and Googie Withers. He has written the plays 'Now You Can Eat Father Christmas' and 'Letters From The Heart'. A new play is in the works. As a broadcaster he can be heard regularly on radio sharing his infinite knowledge of all things entertainment. He is wonderful company, erudite and charming.
John Clark was born in Tasmania and his first intention was to be an archeologist. However, it was the theatre that called and provided Clark with an illustrious career as a theatre-maker and teacher. His greatest triumph is an indelible turn as Director of the National Institute of Dramatic Art. For 40 years he guided and nurtured generations of practitioners who would become crucial contributors to our Theatre, Film and Television industries. He studied theatre at the Bristol Old Vic Theatre school and at Bristol University, where he designed the set for the first production of Harold Pinter's play - The Room. A series of firsts would decorate his career as a director, delivering productions of Death of a Salesman in Hobart, a premiere production of Who's Afraid of Virginia Woolf? and a landmark Sydney season of Don's Party. He played pivotal roles with the Old Tote Theatre and the Jane Street Theatre at a time when a new Australian voice was being developed in playwriting and an authentic style for the Australian actor. When the Old Tote Theatre Company ceased operation, Clark together with Elizabeth Butcher, became the Sydney Theatre Company's initial Artistic Director and Administrator, overseeing an interim season in the Drama Theatre at the Sydney Opera House. His contribution to defining 'an Australian theatre' on local and international stages is vast. He is one of our great champions and a man of tremendous charm and infinite story. It was indeed a privilege and a joy to spend some time with John Clark.