Stage adaptation by: Dean Pitchford and Walter Bobbie

Based on the original screenplay by: Dean Pitchford

Music by: Tom Snow

Lyrics by: Dean Pitchford

Additional music by: Eric Carmen, Sammy Hagar, Kenny Loggins and Jim Steinman

Performed by: Music Theatre and Music students

City  boy Ren thinks life is bad enough when he’s forced to move to a rural  backwater in

America. But his world comes to a standstill when he  arrives at Bomont to find dancing and

rock music are banned. Taking  matters into his own hands, soon Ren has all hell breaking

loose and the  whole town on its feet. Based on the 1984 screen sensation which took  the

world by storm, Footloose sizzles with superb dancing and the  hottest ’80s hits including

Holding Out for a Hero, Almost Paradise,  Let’s Hear it for the Boy, and the unforgettable

title track, Footloose.

Content warning: mild adult themes, recommended age 13+

By arrangement with ORiGiN™ Theatrical on behalf of Samuel French, Inc., A Concord

City  boy Ren thinks life is bad enough when he’s forced to move to a rural  backwater in

America. But his world comes to a standstill when he  arrives at Bomont to find dancing and

rock music are banned. Taking  matters into his own hands, soon Ren has all hell breaking

loose and the  whole town on its feet. Based on the 1984 screen sensation which took  the

world by storm, Footloose sizzles with superb dancing and the  hottest ’80s hits including

Holding Out for a Hero, Almost Paradise,  Let’s Hear it for the Boy, and the unforgettable

title track, Footloose.

Content warning: mild adult themes, recommended age 13+

City  boy Ren thinks life is bad enough when he’s forced to move to a rural  backwater in

America. But his world comes to a standstill when he  arrives at Bomont to find dancing and

rock music are banned. Taking  matters into his own hands, soon Ren has all hell breaking

loose and the  whole town on its feet. Based on the 1984 screen sensation which took  the

world by storm, Footloose sizzles with superb dancing and the  hottest ’80s hits including

Holding Out for a Hero, Almost Paradise,  Let’s Hear it for the Boy, and the unforgettable

title track, Footloose.


The success of the opening of Footloose last night at His Majesty’s could be felt as the audience was making their way out of the theatre, dizzy from the fantastic finale that had us all on our feet. Full of laughter and great vocals, the musical certainly is not to be missed.

Footloose is based on the hit American musical drama and 1984 film. This musical tells the story of Ren McCormick, a young man who moves to a small town from the city of Chicago after his father abandon’s him and his mother. The duo decides to take up a relative’s offer to move in. The small town has a no-dance rule that was put into place by the town’s minister, Reverend Shawn Moore. Ren has a passion for dance and plans to overturn the unfair ban.

The music sets the mood for the entire performance, introducing the setting of a small American town disrupted by the arrival of one sassy troublemaker Ren McCormack (Mitchel Frances). The use of the stage during the performance was ingenious, allowing for many settings on the relatively small stage. A lot of the props were wheeled in, which created quick transitions between completely different sets. My personal favourite was the diner, Burger Blast, with its sofas that doubled as a car at the beginning of the show, but also with the perfect reference to the 80s: the waitresses in roller-skates.

The whole creative team (Craig, Jodie, Bryan, Megan, Jason and Ethan) did an excellent job. When I walked into the theatre and saw the set on stage, I knew instantly that this was going to be a bright, colorful, energetic, and fun production! I felt like an audience member, but also like a part of the show.

The set was absolutely incredible, with smooth and creative transitions. This creativity meant that the musical was not limited by a lack of locations, which often film to theatre adaptations are, and the sets were also used to convey emotions effectively – with the cramped Ariel’s house set acting as an oppressive contrast to the freedom of the spacious diner.

Rev. Shaw Moore (Tim Brown) might not be one of the most loveable characters, but Tim Brown’s few solos stood out from the rest of the performance. Often by his side, Emily Lambert as Vi Moore was another great voice and stole the spotlight at a few points during the show with her very good acting. Last but certainly not least is Mathew Manning as Willard, whose great (and often hilarious) acting made the show into what it was.

The singing, dancing and acting done by this incredible cast was really impressive.  Keeping the energy up the entire time while making sure everything else is done properly is not easy, but the whole cast achieved it. Overall, I spent an incredible night at Footloose. Musical aficionados and musical beginners alike will love revisiting this classic story along with catchy songs and great dancing.

Footloose was the perfect mix of new and original, and when it reached its final rendition of ‘Footloose’ the audience were clapping along long before they were asked to be on their feet. It was like the joy of Bomont’s seniors being able to dance translated into the audience, as they danced along to the final mega mix. 


Sweeney Todd – The demon barber of Fleet Street

Sweeney Todd: The Demon Barber of Fleet Street is a work so daring in its proportions, it defies description. It’s a Gothic opera. It’s a Greek tragedy. It’s a Brechtian epic. Its modes include melodrama, music hall and commedia dell’arte. It swings between the ethical perspectives of Hobbes’ egoism and Nietzsche’s nihilism. It posits Dickensian social commentary within American expressionism and the filmic languages of Alfred Hitchcock and Bernard Hermann. It’s a feast! And there are as many ways of approaching this musical as there are ways of talking about it. To me, the most urgent is its searing critique of a system that grinds people into dust – or pulp to be consumed – with impunity. This story pinches a psychic nerve because we know that we exist in such a system today: one in which people are summarily stripped of their humanity by the craven and powerful. And as millennia of storytelling from Medea to Titus Andronicus to The Chant of Jimmie Blacksmith has tried to warn us, abject cruelty and dehumanisation begets its own reward. The monsters of our making. Sweeney Todd. Any which way you come to it, this is not a musical for the faint-hearted. My colleagues and I are enormously proud of how WAAPA students have faced the dimensions of this work and risen to its myriad challenges. We hope you find it every bit as thrilling.

Sonya Suares – the Director

Sweeney Todd – the Demon Barber of Fleet Street.Review

Sweeney Todd – the demon barber of Fleet Street has been described as a musical thriller by WAAPA when performed by their actors. This musical based on a made–up Victorian shocker, tells the tale of a homicide stylist and the widow who up cycles today’s victims for tomorrow’s meat pies. The musical is haunting, horrible and yet so thrilling, one fails to understand what it is in human nature that enjoys this morbid fantasy. It is a nightmare of a show, pushing at the boundaries of what a musical might say and do. The musical focuses on gore and shock. Blood spouts everywhere when Sweeney the demon of Fleet Street slits the throats of his customers and his accomplice Mrs Lovett grinds the corpses into meat pies, you winch at every crunch.

Sondheim’s score, homage to the sinister soundtracks of Bernand Hermann cannibalises the play by Bond Wheeler until only their bones remain. But in return we get arias so beautiful and musical scenes so intricately layered that every possible genre seems to be baked inside Sondheim’s technique of setting the most grotesque moments to the most romantic music as in “ Pretty woman” when Sweeney prepares to murder the judge who raped his wife and abducted their daughter Johanna.

The barber of the title played by Patrick Volpe has a voice that thrums with menace embracing every note. His singing technique makes sure every word is crystal clear.  

Lovett played by Mia Giglieloni employs a combination of clown physicality and peripatetic zaniness every time she pecks at the reluctant Sweeney fluttering all over him, as though someone has thrown a chicken in his face. In this show, Sweeney’s character is often upstairs which places him on a platform while Lovett gets to prowl the main stage area and showcase her skills. As she hilariously enacts her romantic dramas with a non compliant Sweeney, you see that she is also trying to protect herself from his mania by getting his mind off avenging his wife and reclaiming Johanna. She provides a ,lot of the humorous elements in the play.

Special mention must be made of Mia Beattie who plays Johanna – a rather bland character who turns herself into a bird, twisting with tics and scratching as if to escape the cage of her own skin.

The set was imposing and flexible – a brick and metal version of an unsavoury dockland area.

Kirby Jones terrific lighting was also superb. Its silvery beams often stabbing the darkness like a set of knives.

I would like to conclude with the words of Jesse Green of the NY times who says “this is a rather sad show where grief twists people into nightmares and others try to monetise that”. However the show was so beautifully presented one did go home feeling a bit wretched.

Mack & Mabel

WAAPA brings Broadway magic to His Majesty’s Theatre for a stunning and extravagant celebration of silent-era Hollywood in Mack & Mabel, with heroes, villains, starlets and moguls.

Hot on the heels of last year’s sold-out season of Crazy for You, the same brilliant creative team return with an all-singing, all-dancing cast of 40 incredible triple-threat performers, a live 30-piece orchestra, as well as extravagant sets, costumes and all the razzle-dazzle you’ve come to expect from the Western Australian Academy of Performing Arts.

Set in Hollywood’s early years, Mack & Mabel charts the stormy love story of Hollywood silent movie director Mack Sennett and his adorable star Mabel Normand.

Mack & Mabel will be performed at His Majesty’s Theatre from Friday 10 to Thursday 16 June at 7.30pm, with matinees on Saturday 11 and Wednesday 15 June at 2.00pm.


                I would like to start by saying that this show was spectacular, dazzling and exuberant. It explores the turbulent relationship between the silent movie Producer Mack Sennett and his bright special star Mabel Normand. The show spans the years from 1911 – 1938 and charts their rise and fall.

The exuberance of the 2 reeler era is shown in a scene where Sennett’s bathing beauties don’t merely toss beach balls but use them as choreographic weapons. The Keystone Kops and the pie in the face gag that Sennett uses again and again in Sennett’s comedies are all highlights that make this show memorable and unforgettable.

Director Crispin Taylor presents this interesting American history to us in the style of silent movies together with Jerry Herman’s amazing score delivered to perfection by the excellent WAAPA orchestra. Mention must also be made of the beautiful costumes that adorn Sarah Monteau who personifies Mabel’s famous beauty and style. Monteau manages to be not only glamorous but vulnerable, witty and strong as well. Monteau juggles opposing emotions effortlessly while she makes us all fall madly and hopelessly in love with her as does the entire cast of characters including Mack Sennet wonderfully portrayed by Rohan Campbell. Mack tries not to fall in love with Mabel because he knows he won’t be the guy that sends her roses. Also based loosely on historical figures are Hoofer Lottie Ames and writer Frank Wyman. These two characters are the glue that keeps the company together through thick and thin and represents for us the everyman and woman of the movie industry.  Sassy, brassy and bold Lottie is what most actors are – show trash. Lottie acted by Regan Barber and Frank acted by Henry Fenn are both fabulous in their respective roles. They are strong and their roles are important and essential. Justin wise is terrific as Fatty Arbuckle and Campbell Parsons plays a creepy William Desmond Taylor.

I would like to conclude by saying it is very unfortunate that this show is not produced enough. We are lucky the 2nd and 3rd year students at WAAPA have decided to do this production and you should not miss the opportunity of seeing this absolutely wonderful and exhilarating performance that will have you toe tapping yourself out of the theatre.

Side Show

Fact and fiction are entwined in this musical inspired by Daisy and Violet Hilton – the Brighton born conjoined twins who were displayed in US side shows as children and then as young adults played vaudeville in the 1920’s and appeared in Todd Browning’s long banned 1932 movie “Freaks” before disappearing from view.

The show very successfully explores the inner lives of these young women. Taao Buchanan as Daisy longs for a Hollywood career and Madeline Betts as Violet is more introspective and prefers a quiet existence. Both are exceptional as they negotiate Daisy and Violets differing desires and a cruel world that either treats them as a single entity or wants to tear them apart through medical intervention.

The show opens with the side show exhibits on lurid display starting with the brilliant opening number “ Come look at the freaks”. We then are introduced to a collection of freaks varying from a person who is half women and half man to a human lizard and a pincushion women. This prepares us the audience for what is to come. However this unusual collection does not look vulgar but actually humanises us to Daisy and Violet and the entire “odditorium” family.

Violet Hilton played by Madeline Betts and Daisy Hilton played by Taao Buchanan were absolutely superb in their synchronisation of movement as well as their excellent vocal harmonisation. Their performances were both symbiotic and individualised.

Special mention must be made of the twins loyal friend jake played by Peter Ho. Not only did he have a really powerful voice but his acting and dancing were absolutely superb.

WAAPA has assembled a stellar design team who produced a wonderful set where use of painted drops, flats and shadow play made the whole experience even more theatrical. The lavish costumes were absolutely stunning and completed the entire picture for the audience.

In conclusion I would like to say “Side Show” may never reach the heights of a classical musical but  this production was a hypnotic spectacle that packs an emotional wallop.  

Crazy For You

Word is out! Crazy For You is an absolute smash-hit!

This is easily the biggest, shiniest, most impressive mega musical Perth audiences will see this year!

Not only is it a blockbuster musical but a celebration of our privilege and good fortune to assemble together and enjoy live theatre in these dire, pandemic times for the worldwide entertainment industry.

You can feel it in the theatre, the overwhelming sense of how special this is right now to all the performers on stage but each and every one of us seated in the audience.

The 40 triple-threat cast members are outstanding and the show’s two leads, Chloe Malek (Polly) and James McAlpine (Bobby) are fully formed superstars. Crispin Taylor’s direction is impeccable as is Jayne Smeulder’s choreography. This show is packed with huge ensemble numbers and a real treat for lovers of tap.

The 32 music students performing their hearts out in the pit under the batten of MD, Tim Cuniffe, are on fire and nailing every single Gershwin classic that make up this beloved musical.

The set and costume design is exceptional. Everything sparkles under the exquisite lighting design of Lucy Birkinshaw and the impressive set pieces by Matt Raven are ingenious. The cast and crew making all the transitions seamless.

WAAPA and ECU present

Crazy For You

On now until Thursday 17 June

His Majesty’s Theatre Perth.

Tickets available from Perth Theatre Trust

Web: https://www.ptt.wa.gov.au/venues/his-majestys-theatre/whats-on/crazy-for-you/


This is a show that provides a really buoyant evening. It is put across with tremendous verve and reaches a joyous peak in “ I’ve got rhythm”

The cast consists of the final year WAAPA students and gosh are they lovely looking with the most sculptured bodies. The exquisite costumes that enhance these beautiful frames create a picture of exquisite beauty.

The sets were also very eye catching and provided an excellent backdrop for the amazing spectacular.

This riotously entertaining show uncorked the American musicals classic blend of laughter, dancing, sentiment and showmanship with a freshness and confidence that was a treat to behold.

The evening was bursting with original talent that took on its own cocky path, pointedly mocking recent British musicals even as it sassily rethinks the American musical tradition stretching from Gershwin to Bennett.

Susan’s Stroman’s choreography has been lovingly recreated by Jayne Smoulders with dazzling perfection.

It is amazing how Ken Ludwigs silly but infectious book which is spiced with gooney puns and pratfalls turns nicely into another beautiful Gershwin tune.

The final closing scene ( pictured above) with the entire cast dressed in black and silver was a fitting end to an amazing musical extravaganza.


A new adaptation by: May-Brit Akerholt
Based on The Lady from the Sea by: Henrik Ibsen
Directed by: Will O’Mahony
Performed by: 3rd Year Acting students

As quicksilver as the sea itself, full of riptides, swells and undercurrents, the tug of unspoken desire can drag you under. Ellida, a lighthouse keeper’s daughter, is living a life of quiet desperation with her husband in a coastal fjord town when a mysterious lover from her past arrives. Will she stay on dry land with her husband or answer the call of the sea?

Performance Details


Roundhouse Theatre
WAAPA Mount Lawley

Performance dates

25th Mar 7:30pm,  26th Mar 7:30pm,  27th Mar 2:00pm,  27th Mar 7:30pm,  29th Mar 7:30pm,  30th Mar 7:30pm,  1st Jan 8:00am, 1st Jan 8:00am, 1st Jan 8:00am, 1st Jan 8:00am, 1st Jan 8:00am, 1st Jan 8:00am, 1st Jan 8:00am, 1st Jan 8:00am, 1st Jan 8:00am, 1st Jan 8:00am, 1st Jan 8:00am, 1st Jan 8:00am, 1st Jan 8:00am, 31st Mar 7:30pm, 

Ticketing information

$37 – Full
$32 – Concession
$30 – Friends

Bookings open

23rd Feb – Friends
2nd Mar – Public


WAAPA  latest production, Ellida, brings Henrik Ibsen’s text The Lady from the Sea to The Roundhouse in the form of a new translation by May-Brit Akerholt. The text follows the journey of Ellida, a woman caught between her domestic family life and her desire to sail the seas with her mysterious former lover. Meanwhile, Ellida’s stepdaughters grapple with similar notions of love and freedom.

The set was simple but very effective. Two Arches of beautiful flowers were the centrepieces of the whole set with similar flowers on the wall creating a ripple effect of the sea. This set is navigated by a cast of seven actors who drift in and out of a complex weave of romantic relationships. Standout performances come from Emilia Corlett and Madeline Dona who pair beautifully as the adolescent stepdaughters Bolette and Hilde.

This play definitely has the feel of an old Norwegian play. The text touches on ideas of gender politics but it shies away from making any bold statements. “You can’t stop me from choosing. You can keep me here by force. You have the power to do that. But my choice comes from deep inside me…”

What does it mean to be free? To be truly independent? In Ellida, Henrick Ibsen further explores themes found in his earlier work, challenging and exposing the conventions of marriage and society with biting satire, subtle humour and an ending that raises as many questions as it resolves.

Are we creatures of the land? Creatures of the sea? Or creatures of habit?

Typically, director Will O’Mahony sets himself a challenge.  He compresses Ibsen’s five acts into one hour and fifty minutes and it plays out on a single set that must stand in for multiple locations.  I hope I won’t seem flippant, however, if I say that, in addition, The Lady from the Sea is not one of Ibsen’s more successful plays although it has been adapted for film and television, and gets regular theatrical revivals.  Its combination of almost Chekhovian naturalism (and humour) and poetic symbolism feels awkward (despite the new translation), so that the ‘happy ending’ (rare in any case for Ibsen) is sudden and psychologically unconvincing. If Ellida is in the grip of an obsession – an obsession that has made her marriage no more than a convenient deal and cut her off from her stepdaughters and her husband – she relinquishes it in seconds.

 The parallel and naturalistic sub-plots of Arnholm/Bollete and Bollette/Lynstrand possibly get more playing time than they merit, although Ms Corlett and Ms Dona, as the sisters, give very acute portrayals and are very entertaining in fleshing out rather shadowy figures.  Mr Tharle as Dr. Wangel is soft and gentle yet firm in the final act and leaves us with the impression that he really cares for Ellida and is not pushing her into a hole of subjugation. Ellida is played by Zoe Taylor Morgan and she definitely does not belong to this world. She is a creature of the sea and like the mermaids found in the sea she is gentle, beautiful and soft and deceptively tough. All these characteristics are revealed by Ms. Morgan. 

Though each of the female characters are the decision makers, Ibsen frames their choices strictly within a male framework. Under Will O’Mahony’s direction, the men are equal parts pathetic and powerful. The play concludes with female solidarity and the men pushed behind. Not exactly triumphant, but maybe determined.

This is a story of self-determination, modern families, loving other people’s children, and always looking for the perfect relationship, The Lady from the Sea was shocking in its challenge of societal norms when it premiered in 1889.

The Caucasian Chalk Circle

Written by: Bertolt Brecht
Directed by: Emily McLean
Performed by: 3rd Year Performance Making students

“Terrible is the temptation to do good!” warns Bertolt Brecht’s narrator. But good is all that Grusha, the simple kitchen maid, knows. And so, in the midst of a revolution, she finds herself caring for a poor defenceless infant. Their subsequent journey across her war-torn country is the heart of Brecht’s question: What is right in a world that has gone wrong?

Performance Details


Enright Studio

Performance dates

25th Mar 7:30pm,  26th Mar 7:30pm,  27th Mar 2:00pm,  27th Mar 7:30pm,  29th Mar 7:30pm,  30th Mar 7:30pm,  1st Jan 8:00am, 1st Jan 8:00am, 1st Jan 8:00am, 1st Jan 8:00am, 1st Jan 8:00am, 1st Jan 8:00am, 1st Jan 8:00am, 1st Jan 8:00am, 1st Jan 8:00am, 1st Jan 8:00am, 1st Jan 8:00am, 1st Jan 8:00am, 1st Jan 8:00am, 31st Mar 7:30pm, 

Ticketing information

$30 – Full
$25 – Concession
$23 – Friends

Bookings open

23rd Feb – Friends
2nd Mar – Public


The Caucasian Chalk Circle by Bertolt Brecht is a play chronicling the fall and restoration of society. A web of interwoven narratives examines the effects on the clearly defined and enforced classes. Overarching the play is the story of Grusha, a servant girl who amidst a palace siege rescues the heir left behind. She nurtures and adopts the child as her own to initially protect against rebel soldiers, and later, against the transparently selfish mother, Elizabeth Smith, who needs the child to regain the estates lost during the revolt.

It is a play of constant shifting power, in which the concept of status is rendered meaningless in its changeability. A deeply cynical examination of morality, the play feels very apt at a time of growing civil unrest. While the stakes may be different, the problems are strikingly familiar.

Rendered in a light touch translation by Alistair Beaton, the play maintains its oddball structure, but is performed at such a pace that its concluding homily about social justice and caring for the planet drives home with real emotional weight.

A shrewd stage design and a number of astute and quick-witted performances demonstrate a level of inventiveness and imagination that is so often found in Brechtian performances. All the typical Brechtian tropes can be found here and the piece largely succeeds in Verfremdungs effekt, easing up to allow the touching moments of tenderness and humanity. In their use of committed physicality and indicatory props, the audience’s imagination is massaged to craft ever changing environments. The symbolism used throughout is clear and their inventive approach maximises simplicity. 

Most startling of all is  Jacob Sgouros  in the role of musical narrator, leading the band through a  superb score. He  enters from the auditorium, all rock-star shades, hooks up an electric guitar and lets rip.  Lucy Wong’s Azdak commands the second act; the strongest voice through which the play communicates its ideals, or lack thereof. Wong’s performance is captivating, in its flamboyance and nuance. Clea Purkis admirably shows the cost to Grusha of sticking with the child. Overall the ensemble is amazing – on the same wavelength throughout. Through multi-rolling the cast have managed to carve out the distinct caricatures of Brecht’s epic play impressively.

I would like to conclude by saying the cast is exceptional in this fast-moving and demanding piece, easily switching between characters and scenes, often while singing and playing instruments. At the core of the drama is the question of how we can really decide what is best for someone else, or who has a rightful claim to a person or a thing, and the answer presented is a thoughtful one that can be applied to many modern situations.

REVIEW: Birdland

5 stars/5

Birdland is a clever and very darkly funny play about fame and money, written with fast-paced dialogue and an all-consuming main character. Paul is a rock star near the end of a huge tour, riding high on his success and buying only the best to celebrate. Everybody knows his name and he can get whatever he wants. However, as the tour draws to a close, Paul finds things taking a bad turn, with arguments, death, and the proof that he might really be set apart from everyone not only due to his fame, but also his personality.

As we are ushered into the Spiegal tent, all I can see is this round raised platform in the centre. However as the show progresses I am astonished at how a simple raised platform can be converted into various situations in the flash of a moment. The most outstanding moment was when Paul seduces his best friend’s girl friend and voila we had a very intimate bedroom scene. The speed with which scene changes occur are so seamless.

Ben Chapple who acted as Paul was absolutely brilliant. He swayed from lazy fatigue due to the adulation of his cronies to downright depression when he realises his world is crumbling and he could do nothing about it. All the money and fame could not help him as he was not content inside.

Bryn Chapman Parish who acted as John – Paul’s best friend gave an equally mesmerising performance. I have only singled out these 2 stars as they had the main parts. Every role was terrifically casted and each one’s performance rivalled the other in the brilliance of their acting.

Director Andrew Lewis creates a tornado-like force onstage as the characters whirl and wreak destruction. A pulsing, accelerating sound design from Heinrich Krause amplifies as Paul’s mania increases.

Director Andrew Lewis really manages to get his students to thoroughly research each project. In this play he organised a SKYPE call with Simon Stephen so that the students could get into the mind of the playwright. This gave them an even greater insight onto exactly what Simon Stephen wanted to convey through his play.

In conclusion I can only say we in Perth are extremely lucky to have a college like WAAPA. Not only do we get to see brilliant shows but when we attend a performance, we must remember that we are possibly nurturing the next lot of Hugh Jackman’s for the world. What an inspiring thought!!!

World premiere of The Hope Fault a year in the making

“Art takes time. Good art takes a lot of time,” says West Australian writer/director Andrew Hale.

In a year-long process, Hale has adapted Tracy Farr’s novel, The Hope Fault, for the stage and will direct its world premiere season, presented with the support of the Minderoo Foundation and Fremantle Press, at WAAPA’snewly refurbished Enright Studio from 11-17 October.

Tracy Farr, who grew up in Perth but now lives in New Zealand, will return to her home town for the premiere performance.

Based onFarr’s second novel, The Hope Fault is a rich family story that spans three generations.Iris and her extended family – her ex-husband with his new wife and baby, her son, and her best friend’s daughter – gather on a midwinter long weekend to pack up the family holiday house after it has been sold.

They are together for one last time, one last weekend, one last party. But over the course of the weekend, as their connections are affirmed, their frailties and secrets are revealed.

The Hope Fault is about the faultlines that run under the surface, and about anxiety and uncertainty – the unsettling notion that the earth might shift, literally or metaphorically, at any moment.

“A new birth has the strength of a tsunami and a death the power of an earthquake,” explains Hale, who describes the process of adapting the script and directing the play as a career highlight.

“It has been an unbridled privilege to work with Tracy Farr’s beautiful novel and to be afforded the resources, talent and time across multiple departments of WAAPA to bring her exquisitely imagined characters to the stage.”

The Hope Fault will be performed by WAAPA’s 2nd Year Acting students, who have been workshopping the script with Hale since November last year.

Farr, who returned to Perth for the workshop, says: “It was clear from the early script development workshop I saw late last year that my novel was in very safe – and very creative – hands.”

“So much care, engagement and thoughtful interpretation has gone into the production – from Andrew Hale, the fabulous WAAPA teaching staff, the extraordinary actors, and everyone involved in production, design and staging.”

Hale is also delighted with the energy and enthusiasm of his student cast and creatives.

“Either because they are fresh and ready to try anything or because they are young, all of the incredibly talented students involved have shown the courageous abandon needed to make a truly special production possible,” he says.

Farr is looking forward to being in the audience on opening night.

“Adaptation for the stage allows my novel to expand off the page and into a new form, and to become a communal experience. We’ll sit together, all of us in the audience, and watch The Hope Fault – the characters and stories and ideas that started in my imagination – come to life.”

Copies of The Hope Faultnovel can be purchased in the WAAPA foyer on Friday 11, Wednesday 16 and Thursday 17 October, with Farr available after these performances to sign purchased books.


Strictly Ballroom The Musical will quick step, cha cha and samba its way into your heart when it dances on to the stage of the Regal Theatre as WAAPA’s highly anticipated mid-year musical from June 15 to 22.

Based on Baz Lurmann’s much-loved 1992 film that became a global sensation, Strictly Ballroom The Musical breathes gleeful new theatrical life into the tale of the maverick ballroom dancer who just wants to do his own steps and the shy young Spanish dancer he takes on as his rookie partner.

Defying both convention and their families in their quest to win the Pan-Pacific Grand Prix Dancing Championship, Scott and Fran discover that to be a winner, your steps don’t need to be strictly ballroom.

This sequined, sparkling extravaganza features larger-than-life characters, spectacular dance routines and much-loved songs from the hit film, including Time After Time, Perhaps Perhaps Perhaps and Love is in the Air.

There are also fabulous new songs by internationally acclaimed artists such as David Foster, Sia Furler and WAAPA graduate Eddie Perfect, whose original score for the new Broadway hit musical, Beetlejuice was recently nominated for a 2019 Tony Award.

Strictly Ballroom The Musical will be performed by a huge cast of WAAPA’s 2nd and 3rd Year Music Theatre students with an orchestra of WAAPA Music students, under the direction of Crispin Taylor and music direction of David King.

Taylor describes how he and his young cast are working to find the ‘beating heart’ of this new production.

“There’s three stories, really,” he explains. “The first being that of the young dancer, Scott, who is struggling, having been brought up with the notion of ‘strictly ballroom’, a place of rules and strictures. He feels the need as an artist to break free of that. There’s also the love story with Fran and then of course

Fran’s ugly duckling story. So there’s three stories going on at the same time.

“What we’re trying to do is not lose any of the comedy and the humour and the fun of the show, but to give it a contemporary heart. Fran’s story is one of bullying, not unlike that in Muriel’s Wedding. We’re trying to embrace all the comic aspects and the music, but also the absolute truth of the story being told.”

Making sure the show’s dance routines are sprinkled with just the right amount of ‘sparkle’ is former WA Ballet principal artist Jayne Smeulders, who now teaches at WAAPA.

“Jayne grew up in the ballroom world as well,” Taylor reveals. “Her parents are ballroom dancers and her skills lie across several different types of dance. There’s ballroom, but she was also a prima ballerina, she also worked with the Nederlands Dans Theater. She also taps and is an acrobat! She’s really worked across all kinds of professional types of dance. She has an understanding of the Strictly Ballroom environment, but also of contemporary dance and the improvisation that Scott is yearning for.”

Returning to their alma mater for this production, thanks to the generous support of the Minderoo Foundation as part of WAAPA Visiting Artist Program, are set designer James Browne and lighting designer Trent Suidgeest.                                                                                                                  


As a production designer and creative director across theatre, film, television and events, James Browne has designed for Sydney Theatre Company, Sydney Dance Company, Jamie Oliver’s live stadium show in Melbourne, and Just For Laughs at the Sydney Opera House starring John Cleese, among many others.

In the decade since he graduated from WAAPA, Trent Suidgeest has established himself as one of Australia’s most sought-after young lighting designers. This year alone he has worked on Muriel’s Wedding The Musical and the encore season of Calamity Jane in Melbourne, The Rise and Fall of Little Voice starring Caroline O’Connor and WAAPA graduate Geraldine Hakewell for Darlinghurst Theatre Company in Sydney, and the world premiere of Mimma The Musical in Perth.

These professional creatives are supported by a talented group of students from WAAPA’s Production and Design department, including Design, Costume, and Props & Scenery students who will make the costumes and sets a reality, while Sound, Lighting and Stage Management students will ensure the technical aspects of the show run smoothly.

“One of the joys of working at WAAPA is being able to work with a company of people over a number of years,” says Taylor. “It’s very unusual to work with a company like that in the professional world. They’re very trusting and very faithful. We work economically; we know each other pretty well and we have a language and a level of respect and trust that makes every day enjoyable.

“The Regal Theatre’s been beautifully renovated recently. It’s great for the students to experience a large-scale theatre – at WAAPA the theatre is 350 seats, at the Regal it’s around 1,000. Our kids are going to graduate and go out and work on The Book of Morman or West Side Story playing in pretty big theatres, so this is as close as we can get to an authentic learning environment for those professional situations.”

“With this stage show, I think people can expect everything that the film offers and more,” adds Taylor. “Strictly Ballroom The Musical is a great fun show packed full of great music and great wit… but it also has a great heart and soul.”

So strap on your dancing shoes for this iconic Aussie story about daring to dream and being true to yourself.

*The WAAPA Visiting Artists Program is proudly supported by the Minderoo Foundation.   

Regal Theatre, 474 Hay St, Subiaco, WA

Tickets $76 Full / $66 Concession and Friends / Group deals available

Sat 15, Tue 18, Wed 19, Thu 20, Fri 21, Sat 22 June, 7.30pm

Matinee Sat 15 & Sat 22 June, 2.00pm

Created by: Baz Luhrmann

Book by: Baz Luhrmann and Craig Pearce

Adapted by: Terry Johnson

Music by: Various artists

Director: Crispin Taylor

Music Director: David King

Choreographer: Jayne Smeulders

Set Designer: James Browne*

Lighting Designer: Trent Suidgeest*

Performed by: 2nd and 3rd Year Music Theatre students and WAAPA Music students

BOOK NOW via Ticketek: Tel: 1300 795 012 or online at ticketek.com.au

Parke weaves musical magic on Sondheim’s

Sunday in the Park with George

“I don’t really believe in God,” says award-winning singer, actor and director Tyran Parke. “But I do believe in Sondheim.”

In 2007, Parke’s lead performance in the Australian premiere of Stephen Sondheim and James Lapine’s

Pulitzer Prize-winning musical, Sunday in the Park with George, was described as ‘flawless’ and ‘stellar’.

Just over a decade later, Parke returns to the show – and his alma mater – on the other side of the

footlights, directing the 3rd Year Music Theatre students in WAAPA’s production of this unconventional


“Being back at WAAPA exactly 20 years since I graduated from the Music Theatre course, now as the

director of this show, feels like life imitating art. And I couldn’t be more thrilled,” says Parke.

Art is the inspiration behind Sunday in the Park with George, with Sondheim and Lapine basing the story

on the great French post-impressionist painter Georges Seurat and his famous pointillist painting,

A Sunday Afternoon on the Island of La Grande Jatte.

The plot revolves around George, an obsessive painter who risks it all – including his relationship with

his lover Dot – to finish his latest masterpiece. A century later, George’s great-grandson is a conflicted

contemporary artist searching for meaning in his life and work.

Sunday in the Park with George is about the legacy you leave,” says Parke. “It’s about how connecting

with your past allows you the possibility of your future.”

Parke describes the musical as a work that has grown in stature since it premiered on Broadway in 1984

through its ability to stay relevant and speak across the decades.

“I’m so excited to uncover this version, created through the collaborative engagement of the collective

talents of all the WAAPA theatre makers. It promises to shimmer like the art on which it is based.”

Parke brings a wealth of experience as an award-winning director, singer and actor to this production.

Since graduating from WAAPA in 1999 he has worked on over 80 professional productions, weaving his

magic on stages across the country in the form of musicals, operas and new Australian works.

Most recently, Parke was the recipient of a 2018 Greenroom Award for best director of a musical for

Ordinary Days at Melbourne’s Chapel Off Chapel.

“For a modern, character-driven musical, there is no better director in Australia than Tyran Parke, a

proven master at illuminating the minutiae of human connections,” wrote critic Simon Parris in his review

of Ordinary Days. “Parke’s subtle, yet highly detailed direction brings the characters vividly to life.”

On the strength of this ringing endorsement, WAAPA’s production of Sunday in the Park with George

promises to be a musical not to miss.

Sunday in the Park with George will be performed by WAAPA’s 3rd Year Music Theatre students under

the direction of Tyran Parke from 25 August to 1 September in the Geoff Gibbs Theatre.

Tyran Parke’s visit to WAAPA is proudly supported by the Holly Wood Trust.


GEOFF GIBBS THEATRE, ECU, 2 Bradford St, Mount Lawley

Tickets $49 Full / $43 Concession and Friends

Sat 25, Mon 27, Tue 28, Wed 29, Thu 30, Fri 31 August, Sat 1 September, 7.30pm /

Matinee Sat 1 September, 2.00pm

Music & Lyrics by: Stephen Sondheim

Book by: James Lapine

Director: Tyran Parke

Music Director: David King

Performed by: WAAPA 3rd Year Music Theatre students

BOOK NOW: Tel: (08) 9370 6895 or online at: waapa.ecu.edu.au/boxoffice

The interview was done by Malti Elliott with the director Tyran Parke.

The Importance of Being Earnest

Written by: Oscar Wilde
Directed by: Dan Bird
Performed by: 3rd Year Acting students

Oscar Wilde’s most elegant comic masterpiece is brought vividly to life by visiting British director Dan Bird. Dashing men-about- town John Worthing and Algernon Moncrieff pursue fair ladies Gwendolen Fairfax and Cecily Cardew. Matters are complicated by the imaginary characters invented by both men to cover their on-the-sly activities – not to mention the disapproval of Gwendolen’s mother, the formidable Lady Bracknell. Dan Bird is Artistic Director of UK youth theatre company Bad Physics, who specialise in staging classic plays in unconventional and dynamic ways – so expect an unexpected Earnest!

Join us for a post-show discussion on Tuesday, 8 May 2018.

Performance Details


Roundhouse Theatre

Performance dates

4th May 7:30pm,  5th May 2:00pm,  5th May 7:30pm,  7th May 7:30pm,  8th May 7:30pm,  9th May 7:30pm,  1st Jan 8:00am, 1st Jan 8:00am, 1st Jan 8:00am, 1st Jan 8:00am, 1st Jan 8:00am, 1st Jan 8:00am, 1st Jan 8:00am, 1st Jan 8:00am, 1st Jan 8:00am, 1st Jan 8:00am, 1st Jan 8:00am, 1st Jan 8:00am, 1st Jan 8:00am, 10th May 7:30pm,

Ticketing information

$35 – Full
$29 – Concession/Friends

Bookings open

6th Feb – Friends
13th Feb – Public

The interview was done by Malti Elliott with the director Dan Bird.


Bloody Bloody Andrew JacksonBloody1

Music and Lyrics by: Michael Friedman
Book by: Alex Timbers
Directed by: Shaun Rennie
Music Direction by: Craig Dalton
Choreographed by: Christabel Ellis
Performed by: 2nd Year Music Theatre students

Andrew Jackson, America’s seventh president, gets the rock ‘n’ roll treatment in this exhilarating and raucous show about the founding of the Democratic Party. AJ kicked British butt, shafted the Indians and smacked down the Spaniards, all in the name of the United States – who cares if he didn’t have permission? With its blend of outrageous comedy, anarchic theatricality and an infectious rock score, this wildly entertaining 90-minute show draws parallels to today’s political landscape.

bloody 2Note – Contains strong language and adult concepts.

Performance Details


Roundhouse Theatre

Performance dates

14th Oct 7:30pm,  16th Oct 7:30pm,  17th Oct 7:30pm,  18th Oct 7:30pm,  19th Oct 7:30pm,  20th Oct 7:30pm,  21st Oct 2:00pm,  1st Jan 8:00am, 1st Jan 8:00am, 1st Jan 8:00am, 1st Jan 8:00am, 1st Jan 8:00am, 1st Jan 8:00am, 1st Jan 8:00am, 1st Jan 8:00am, 1st Jan 8:00am, 1st Jan 8:00am, 1st Jan 8:00am, 1st Jan 8:00am, 21st Oct 7:30pm,

Ticketing information

$38 – Full
$33 – Concession/Friends

Bookings open

12th Sep – Friends
19th Sep – Public

The interview was done by Malti Elliott with the director Shaun Renni

Present Laughter

The best of British :English guest director at WAAPA for Coward’s classic comedy

presentThe WAAPA Visiting Artists Program, proudly supported by the Minderoo Foundation, brings one of Britain’s finest directors and educators to Perth to direct the 3rd Year Acting students in Noel Coward’s delightful comedy, Present Laughter from Friday 16 to Thursday 22 June at Edith Cowan University, Mount Lawley.

Vivian Munn, actor, director and educator at London’s prestigious Royal Academy of Dramatic Art, directs this delicious drawing-room comedy, described by the playwright as “a series of semi-autobiographical pyrotechnics”.

Present Laughter follows Garry Essendine, a 1930s stage star and aging playboy who receives a visit from an infatuated young admirer, initiating a parade of intruders and interruptions, including his ex-wife, his manager and an aspiring playwright. In typical Coward fashion, wickedly funny wordplay and biting bon mots grace the farcical fun.

Vivian Munn trained at RADA and for twenty years worked extensively as an actor. His theatre credits include playing opposite Vanessa Redgrave in Ibsen’s Ghosts at the West End’s Wyndham Theatre, and working with the Royal Shakespeare Company, English Shakespeare Company and Young Vic, among many others.

Munn has taught and directed at numerous English drama schools including E.15 Acting School and Mountview Academy of Theatre Arts. He is a RADA Academy Associate Teacher, Director of RADA Elders Company and the NYU Course Co-ordinator.

“It’s great to be back in Perth,” says Munn. “As an actor, I toured Australia with the English Shakespeare Company in 1991 and am thrilled to find myself in Western Australia once again, this time directing and teaching at WAAPA.

“I am delighted with the cast of Present Laughter. From their first reading of the text they have been keen to extend their skills and shown tremendous fortitude when tackling the writing which is notoriously difficult. The company have faced the task head on, not faltering for a moment and indeed revelling in the challenge that Coward poses. I have found this reaction very refreshing and their responses extremely uplifting.”

“It is an exciting introduction to the Master that is Noël Coward and the 3rd Year students are taking great delight in his world. The laughter is very much present and it is a joy to facilitate their performance.”


ROUNDHOUSE THEATRE, ECU, 2 Bradford St, Mount Lawley

Tickets $33 Full / $28 Concession and Friends

Fri 16, Sat 17, Mon 19, Tue 20*, Wed 21, Thu 22 June, 7.30pm

Matinee Saturday 17 June, 2.00pm, *Post-show discussion on Tuesday 20 June

Written by: Noel Coward

Performed by: 3rd Year Acting students

Director: Vivian Munn

BOOK NOW: Tel: (08) 9370 6895 or online at: waapa.ecu.edu.au/boxoffice


The Diary of Anne Frank

Written by: Francis Goodrich and Albert Hackett Anne Frank 1
Directed by:The diary of ann1 Peggy Shannon
Performed by: 3rd Year Acting students

Anne Frank: The Diary of a Young Girl is the compelling story of a Jewish teenager hiding with her family from the Nazis in the German-occupied Netherlands. Described as a ‘coming of age behind locked doors’, the book has sold 30 million copies in 67 languages. To mark the 70th anniversary of its publication, visiting guest director Peggy Shannon, Chair of Ryerson University’s School of Performance in Canada, directs WAAPA’s graduating Acting students in the powerful play based on Anne’s diary.

Join us for a post show discussion on Tuesday, 9 May 2017.

Anne frank 2

Performance DetailsThe diary of Anne 2


Roundhouse Theatre

Performance dates

5th May 7:30pm,  6th May 2:00pm,  6th May 7:30pm,  8th May 7:30pm,  9th May 7:30pm,  10th May 7:30pm,  1st Jan , 1st Jan , 1st Jan , 1st Jan , 1st Jan , 1st Jan , 1st Jan , 1st Jan , 1st Jan , 1st Jan , 1st Jan , 1st Jan , 1st Jan , 11th May 7:30pm,

Ticketing information

$33 – Full
$28 – Concession/Friends

Listen to an interview


Heathers the Musical

Books, Music and Lyrics by: Kevin Murphy and Laurence O’Keefe Heathers2
Based on the film written by: Daniel Waters
Directed by: Andrew Lewis
Music Direction by: David King
Choreographed by: Bernie Bernard
Performed by: 3rd Year Music Theatre students
Hilarious, heartfelt and homicidal! Brainy, beautiful teenage misfit Veronica Sawyer hustles her way into the most powerful and ruthless clique at Westerberg High: the Heathers. But before she can get comfortable atop the high-school food chain, Veronica falls in love with the dangerously sexy new kid, JD. When Heather Chandler, the Almighty, kicks her out of the group, Veronica decides to kiss Heather’s aerobicized butt… but JD has other plans. Based on the film that became a cult classic, Heathers: The Musical is a darkly delicious look at the joys and anguish of high school.

Warning: Heathers is not suitable for a conservative audience. Suitable for ages 15+

heathers1Performance Details


Geoff Gibbs Theatre

Performance dates

18th Mar 7:30pm,  20th Mar 7:30pm,  21st Mar 7:30pm,  22nd Mar 7:30pm,  23rd Mar 7:30pm,  24th Mar 7:30pm,  25th Mar 2:00pm,  1st Jan ,  1st Jan ,  1st Jan ,  1st Jan ,  1st Jan ,  1st Jan ,  1st Jan ,  1st Jan ,  1st Jan ,  1st Jan ,  1st Jan ,  1st Jan ,  25th Mar 7:30pm,

Ticketing information

$48 – Full
$41 – Concession/Friends

The interview was conducted by Malti Elliiott with the director of the show  Andrew Lewis and the heroine Monique.


Albert Herring

Music by: Benjamin Britten
Libretto by: Eric Crozier, based on Guy de Maupassant’s novella Le Rosier de Madame Husson 
Directed by: Thomas de Mallet Burgess
Music Director: David Wickham
Performed by: Classical Vocal students and Faith Court Orchestra

albert-herring1Albert Herring contains some of Britten’s wittiest musical writing, exploring parody and caricature to the full. The comic chamber opera is set at the turn of the 20th century in an imaginary East Suffolk town called Loxford. No virtuous women can be found in Loxford so the meek and mild Albert Herring is chosen and crowned the town’s first ‘May King’. However, Albert is less than delighted with his new title and dreams of rebellion. Frustrated by small-town morals and gossip, Albert decides to set matters straight after a rum-laced lemonade or two at the May Day celebrations, setting off with his prize money on a night of debauchery.Albert Herring is one of the most endearing, light-hearted and outright funny operas you will ever see.

Performance Details


Geoff Gibbs Theatre

Performance dates

10th Oct 7:30pm,  11th Oct 7:30pm,  12th Oct 7:30pm,  13th Oct 7:30pm,  14th Oct 7:30pm,  1st Jan , 1st Jan , 1st Jan , 1st Jan , 1st Jan , 1st Jan , 1st Jan , 1st Jan , 1st Jan , 1st Jan , 1st Jan , 1st Jan , 1st Jan , 1st Jan , 15th Oct 7:30pm,

Ticketing information

$42 – Full
$37 – Concession/Friends

The interview was done by Chris Durrant with the director Thomas –de – mallet – burgess


A Tale Of Two Cities

A tale of 2 citiesAdapted by: Terence Rattigan and John Gielgud
Novel by: Charles Dickens
Edited by: Adam Spreadbury-Maher
Directed by: Hugh Hodgart
Performed by: 3rd Year Acting students

“It was the best of times, it was the worst of times…” A Tale of Two Cities, Dickens’ immortal novel of revolution and romance was adapted for the stage in 1935 by John Gielgud and Terence Rattigan, two of the brightest theatrical talents of their day. It has been modernised by one of Australia’s most gifted and imaginative young directors, the multi-award winning Adam Spreadbury-Maher. Retaining the thrill and tension of the French Revolutionary setting but merging it with a modern, East London aesthetic, this production focuses on the love triangle that lies at the heart of Dicken’s classic story. WAAPA welcomes Hugh Hodgart, Director of Drama, Dance, Production and Screen at the Royal Conservatoire of Scotland, to Perth to direct this exciting ensemble piece.

Performance Details


Geoff Gibbs Theatre

Performance dates

19th Aug 7:30pm,  20th Aug 2:00pm,  20th Aug 7:30pm,  22nd Aug 7:30pm,  23rd Aug 7:30pm,  24th Aug 7:30pm,  1st Jan , 1st Jan , 1st Jan , 1st Jan , 1st Jan , 1st Jan , 1st Jan , 1st Jan , 1st Jan , 1st Jan , 1st Jan , 1st Jan , 1st Jan , 25th Aug 7:30pm,

Ticketing information

$35 – Full
$30 – Concession/Friends

Bookings open

5th Apr – Friends
12th Apr – Public

The interview was done by Malti Elliott with the director Hugh Hodgart .



Les Liaisons Dangereuses Les dangereuse liason 2

Adapted by: Christopher Hampton
From the novel by: Pierre Choderlos de Laclos
Directed by: Crispin Taylor
Performed by: 3rd Year Acting students

Based on the 18th century French novel, Les Liaisons Dangereuses is a bitingly witty masterpiece of seduction and revenge. Elegantly and sinisterly, the plot unfolds: The Marquise and the Vicomte are accomplices in a game of sexual corruption, deceit and betrayal. Completely oblivious to the emotional destruction they cause, they scheme together to seduce two innocent victims.

Their clever game of passion and manipulation, played out in Parisian salons and bedrooms, turns in on itself when the Vicomte realises that he is truly in love. The 1988 film version of Christopher Hampton’s play, Dangerous Liaisons, starring Glenn Close, John Malkovich and Michelle Pfeiffer, won three Academy Awards.

*Note: There will be a post show discussion on Tuesday, 14 June, 2016

Performance Details


Roundhouse ThLes dangereuse liason for bobeatre

Performance dates

10th Jun 7:30pm,  11th Jun 2:00pm,  11th Jun 7:30pm,  13th Jun 7:30pm,  14th Jun 7:30pm,  15th Jun 7:30pm,  1st Jan , 1st Jan , 1st Jan , 1st Jan , 1st Jan , 1st Jan , 1st Jan , 1st Jan , 1st Jan , 1st Jan , 1st Jan , 1st Jan , 1st Jan , 16th Jun 7:30pm,

Ticketing information

$32 – Full
$27 – Concession/Friends

Bookings open

The interview was conducted by malti Elliott with the director of the play Crispin Taylor.


A View from the Bridge

A view from the bridge2 Arthur millerWritten by: Arthur Miller
Directed by: Lawrie Cullen-Tait
Performed by: 3rd Year Acting students

The great Arthur Miller confronts the American dream in this dark and passionate tale. In Brooklyn, longshoreman Eddie Carbone welcomes his Sicilian cousins to the land of freedom. But when one of them falls for his beautiful niece, they discover that freedom comes at a price. Eddie’s jealous mistrust exposes a deep, unspeakable secret – one that drives him to commit the ultimate betrayal. Perth-based polymath and WAAPA graduate Lawrie Cullen-Tait directs this production of Miller’s tragic masterpiece. Her multi award-winning work in the theatre, film and television industries has seen her gain great accolades.

*Note: There will be a post show discussion on Tuesday, 3 May, 2016

Performance Details


Roundhouse Theatre

Performance dates

29th Apr 7:30pm, 30th Apr 2:00pm, 30th Apr 7:30pm, 2nd May 7:30pm, 3rd May 7:30pm, 4th May 7:30pm, 1st Jan , 1st Jan , 1st Jan , 1st Jan , 1st Jan , 1st Jan , 1st Jan , 1st Jan , 1st Jan , 1st Jan , 1st Jan , 1st Jan , 1st Jan , 5th May 7:30pm,

Ticketing information

$32 – Full
$27 – Concession/Friends

Bookings open

The interview has been conducted by Malti Elliott with the director Lawrie Cullen Tait.