CLOC 50th Anniversary History

CLOC MUSICAL THEATRE 1964-2014

ACKNOWLEDGEMENT First published 2014 Copyright 2014 © CLOC Musical Theatre Inc All rights reserved. No part of this book may be reproduced or transmitted to any person or entity (including Google, Amazon or similar organisation) by any form or any means electronic or mechanical including photocopying, scanning, or by any information storage or retrieval system without prior permission in writing from CLOC Musical Theatre Inc. Written and researched by Susan Johnston CLOC gratefully acknowledges the support and assistance of the following in bringing this project to fruition:- Kingston City Council Community Grants Programme John Hales Fineline Printing Australia Pty Ltd Carol Humphrey The Wizarts Cameron Osborne Grant Alley Delwyn Poyser Janet Cameron Barry Venning Sandra Davies Margaret Venning Eva Fabian ISBN: 9780646919959 Published by CLOC Musical Theatre Inc PO Box 3250 Mentone East, Victoria, 3194 Australia

TABLE OF CONTENTS Foreword 6 8 Chapter 1 12 Getting Started 1964-1971 17 23 Chapter 2 28 Moving Forward 1972-1982 37 Chapter 3 Growth and Experimentation 1983-1992 Chapter 4 A New Business Model 1993-2003 Chapter 5 Bold and Successful 2004-2014 Appendices

FOREWORD I guess I was seduced by the theatre when, as a small boy, I was taken to see the lavish Christmas pantomimes that played every year in Melbourne. Not only did they enthral children (and a lot of adults too) but they had great production values and headlined people who were the stars of the era. The Tivoli, Her Majesty’s, The Princess and The Kings Theatre presented shows that were based on fairy tales and had stock characters like The Demon King, The Dame (always a man), The Principal Boy (always a girl) and the Heroine who would always finish living Happily Ever After as the stage twinkled with a thousand lights. Later, I graduated to adult musicals, seeing Annie Get Your Gun, South Pacific, Call Me Madam, and many others presented by, what was then the world’s largest theatre organisation, J C Williamsons. That was the start of my ‘education’ in music theatre and in later years I followed it by writing successful children’s musicals and ground breaking hits in Australian theatre. Having seen hundreds of musicals in London, New York, Los Angeles, Toronto and around Australia, as well as many European productions I have never lost my love for music theatre. Since returning to Melbourne after many years in the United States, my love of music theatre has been further enhanced through attending CLOC’s productions. CLOC has never disappointed me. Whether it is their choice of shows, casting, talent, direction, production values or the orchestra, the company excels in every way. When you think of the time, hard work and dedication it takes to get the productions on stage they really do achieve miracles. I have seen CLOC productions that could have been hits in the professional theatre. I have seen talent that could have successful professional careers but because of other obligations have remained in the non-professional theatre and entertained CLOC audiences with standing ovation performances. And I have to acknowledge the wonderful people who make CLOC the company that it is. It is their love of theatre, enthusiasm and behind the scenes work that make CLOC so special. Visiting CLOCworks, the company’s fabulous production facility at Kingston, takes me back to the days of J C Williamsons and the work rooms that built sets and made costumes. So professional are CLOC’s sets and costumes that they are frequently sought after by theatre companies throughout Australasia. That great international star Dame Angela Lansbury told me many years ago that when in a long run musical she was excited before every performance, especially when she heard the overture commence: ‘It is like every night is the first night and I can feel the expectation of the audience that is looking forward to the show.’ That is how I feel about CLOC because I can feel the expectation of the audience that is looking forward to the show. And I am never disappointed. From very small beginnings in a church hall, countless individuals have worked to make CLOC’s vision for what can be achieved in music theatre a reality. Since 1964, a combination of sound management, a focus on providing audiences with high quality entertainment and continually striving for excellence in every aspect of music theatre production have seen the company grow and prosper. It is indeed an honour to be the Patron of this wonderful company and to support it without reservation. Congratulations on work well done and fifty years of achievement. John-Michael Howson OAM 6 CLOC MUSICAL THEATRE 1964-2014

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Chapter One GETTING STARTED 1964-1971 From small beginnings in the Cheltenham Presbyterian Church hall Basking in the success of Pirates of Penzance, preparations were soon and a sell-out production of The Pirates of Penzance, in 1963, what underway for the next production – a three night season of Yeomen of was to become CLOC Musical Theatre in 1985 is now widely the Guard with a cast that featured Barry Reaper, Ian McKenzie, Tony recognised as amongst Australia’s most innovative and successful Arvidsson, John Hales, Bruce Nicholson, Eric Naylon, Vic Proposch, Peter music theatre production companies. The winner of more than one Miller, Ken Evans, Dorothy Etty, Audrey Speedy, Jean Tyson, Rosalind hundred awards for its artistic and performance achievements, over Arvidsson, Janet Cassels and Joyce McKenzie. A small production team five decades, CLOC’s reputation has been built on the professionalism, included musical direction by George Hadwen, direction by Keith Morris, technical expertise and commitment of a huge number of very dedicated Barbara Jones on piano, scenery painting and design by members of the individuals. Indeed, it has been the sound business principles established by Cheltenham Arts Group, Phil Nicholson organising ticket sales, Betty management in the early years that have provided a successful foundation Broadbent supervising make-up and Stan Jones as House Manager. for the company’s operation and its continued development as a As evidenced by the tone of a complimentary report in the Moorabbin producer of top quality music theatre. Standard, the company was already attracting considerable attention for Throughout its history CLOC has been recognised for its stability and providing high quality entertainment and a huge amount of enjoyment for ability to plan and implement a range of key strategies aimed at securing both its members and a growing audience. When asked ‘if all the months the company’s long term future. Indeed, at no time in its history has of effort and preparation had been worthwhile’ cast and audience this vision been more apparent than in the past decade which has seen responded with a resounding ‘yes’. The company was also commended not only the successful acquisition of its own dedicated premises for set for choosing: building, costume making, storage and rehearsals, but the expansion of non-show revenue and a bold a vehicle recognised as one of the move to a larger theatre. In 2014, most difficult in the Gilbert and Sullivan CLOC’s growing professionalism repertoire, but acquitted itself admirably. in managing what has become a Barry Reaper (was) outstanding as very sophisticated business and a personable and accomplished Colonel in planning for the future is now Fairfax. On the night when I attended evident in every aspect of its Dorothy Etty was playing Elsie Maynard management and operations. with her considerable Gilbert and Half a century on from the days of Sullivan experience evident in her fresh church and school halls and thirty- and charming handling of the part. five performers accompanied by Jean Tyson – another well- established only a piano, drums and an organ, member of the company, and Rosalind productions have grown to forty Arvidsson alternated as Phoebe Meryll - eight on the stage of St Kilda’s Jean using her comedy sense as well as National Theatre, a full orchestra her musical sense to provide some of the and a large contingent of highly competent technical, front of house and brightest moments of the show. backstage personnel. Expertly administered by a committee of ten and In commenting further, the article also pointed to the strong sense of supported by more than three hundred passionate volunteers, CLOC’s camaraderie and commitment that was already developing amongst the productions have covered the entire range of music theatre and include founding group: numerous Australasian premieres. Producing two shows a year (May and Keen is certainly the word for members of that company. Before they had October) CLOC is renowned for delivering exceptional entertainment at even removed their makeup, their President, Mr Vic Proposch, was calling affordable prices. them to a meeting on the following Wednesday night at which they would CLOC Musical Theatre began as the Cheltenham Light Opera Company, take their first steps towards their next production in November. the origins of which reach back to the early 1960s and the enthusiasm of The small production team of Yeomen of the Guard was soon expanded what was initially a small group of very lively founding members eager to include a stage manager, lighting, properties, choreographer and an to take on whatever tasks were required in order to achieve a successful organist to play the organ which had been ‘kindly supplied by Brash’s’ the artistic and financial outcome. well-known music business in Elizabeth Street. The Gondoliers was written In 1961, the choir of the Cheltenham Presbyterian Church arranged up in the local media in an article headed ‘Light Opera Singers Were Gay a performance of The Mikado in the church hall. Two years later, Gondoliers’, the writer congratulated the cast for their clear enunciation members of the choir and others from outside the church got together which ‘was so good that I heard some of the words of this opera clearly to put on HMS Pinafore. The success of these early productions and for the first time. But that certainly was not its only achievement. The increasing interest from people not connected with the church led to the chorus, as usual, was particularly strong and well-rehearsed and the foundation, in 1964, of a group that was separate from the church and principals more than adequate.’ dedicated to the production of light operas. Even at this early stage of its development the company was already The early years were dominated by Gilbert and Sullivan with productions working to establish the foundations of what would, over ensuing decades, of Yeomen of the Guard and The Mikado in 1965; Trial by Jury and The become a hugely successful approach to marketing its shows. During the Sorcerer in 1966; The Gondoliers and the first non-Gilbert and Sullivan show interval of The Gondoliers organist Gordon Hammond played selections The Vagabond King in 1967. Performing in The Pirates of Penzance was a from the next production, The Vagabond King, while successful relationship host of talented individuals, many of whom would take on key leadership building with the media was seeing good coverage in both local and some roles, guiding and strengthening the company over the next decade and mainstream publications. establishing an excellent model for professional management. In particular, Performed over four nights in October 1967, The Vagabond King was Vic Proposch (Major General Stanley), John Hales (Pirate King) and Barry produced (directed) by John Prest, with Barbara Jones as musical director Reaper (Pirate Apprentice) were, at various times, to serve as committee and Vic Proposch as stage manager. As always, company personnel members and presidents, setting the tone for continued success based on showed their commitment and versatility by fulfilling a variety of roles. sound financial management, member participation, technical excellence Committee member and secretary, Russell Etty served as ticket secretary, and a reputation for high quality productions. house manager and also painted scenery, while singer Dorothy Etty continued as one of the company’s early leading ladies. Yet to take the 8 CLOC MUSICAL THEATRE 1964-2014

step to engaging an orchestra, music for The Vagabond King was provided With direction by Ron White and musical direction by Clarrie Findlay, by piano and organ. Ticket prices for a seat in the Highett High School hall Iolanthe featured a cast of fifty, supported by an orchestra of twenty-three were 75 cents (adults) and 40 cents for children. players. A glowing review in The Advocate in March 1969 boosted what A review of the show at the committee meeting on 31 October 1967 was by now a growing reputation for quality music theatre productions: led to a discussion of its length, the lack of backstage helpers, understudies One of the best performances of Iolanthe I have ever seen and heard was and various ‘other deficiencies’. It was agreed that much had been presented by the Cheltenham Light Opera Company at the Highett High learnt from The Vagabond King, particularly in terms of developing and School Assembly Hall. It had only a four night season: it’s a pity that it couldn’t implementing new strategies aimed at raising the standard of be staged all around Melbourne to demonstrate to the promoters of ‘new future productions. versions’ the futility of their itch to improve or up-date the art of Gilbert and Having agreed not to do White Horse Inn as the next show, Dorothy Etty Sullivan. Any limitations imposed on amateurs by the lack of professional joined the meeting to suggest No-Man’s Land as the next production. theatre equipment were made negligible by the splendid cast of competent Written by Edith Harrhy, No-Man’s Land had a small cast, mainly women, principals, a full strength chorus, an admirable orchestra and intelligent and two acts and comparatively modest scenery. The committee agreed to capable direction by Ron White and musical director Clarrie Findlay. stage this show, subject to hearing the music and meeting Edith Harrhy. Lerner and Lowe’s Brigadoon featured choreography by former In the event, No-Man’s Land was not selected and committee members Borovansky Ballet principal dancer, Strelsa Heckelman, direction by Ron were asked to investigate Kismet or Oklahoma! as the next production White, musical direction by Ernie Shade, a large cast, orchestra, ballet and scheduled for 1968. By the end of the year it had been agreed that Kismet two pipers from the City of Moorabbin Pipe Band. In the lead roles were was ‘too difficult for an amateur company’ and Oklahoma! was selected. Barry Reaper (Tommy Allbright), Norm Smart (Jeff Douglas), Sylvia It was decided that for the first time principal roles would be cast from Rennison (Fiona MacKeith), Elizabeth Faulkner (Jean MacKeith) and Roger auditions while Clive Hearne was to be asked to direct the show at a Wilson (Harry Ritchie). fee of $100 and Clarrie Findlay was to be asked to be musical director With a budget of $2,215, Brigadoon represented a major investment on ‘for a fee of $100 and to arrange an orchestra with a limit of $400 to be the part of the company, one that proved to have been most astute. Not spent on same.’ Following auditions for singers and dancers, rehearsals only was Brigadoon a huge success in terms of its impressive production proceeded on schedule despite an unexpected glitch in early July, when values and box office receipts, the show also marked a most significant choreographer Carolyn McComb and principal male dancer Ronald moment in CLOC’s history – the arrival of eighteen year old Haileybury Lindner departed for Brisbane, with the result that the committee made College student, Grant Alley. Having been invited to join the backstage the decision to scale down some of the dance numbers. crew to assist with stage management and set construction, by the next Described in the local press as ‘accomplished and sparkling’, the company’s show Grant had taken on the key role of technical director in charge hugely successful production of Oklahoma! marked a self-assured venture of set construction – a position he still holds forty- five years later. For into the realm of the American Musical. A cast of more than fifty singers Grant, his most vivid memory of Brigadoon ‘was the sense that I had hit and dancers filled the stage of the Highett High School hall where the big time. I was brought in because of my technical skills and the first audiences paid $1 (adults) and 50 cents (child) to see accomplished thing I did was build a stage manager’s desk from which to call the show. performers Robert Hallett (Curly), Isabel Gabriel (Laurey), Ann Mardling I remember there was this wonderful sense of family and an atmosphere (Aunt Eller) John Hales (Will Parker), Marguerite Howlett (Ado Annie), that everyone knew what they were doing.’ Peter Oliver (Ali Hakim), Rod McKenzie (Cord Elam) and Keith Marion as the troubled Judd Fry. For some company members, this move into the realm of American musicals proved to be an interesting development since many of the more modern shows required performers who could dance as well as sing and act. Recounting his experiences in the role of Will Parker, CLOC identity John Hales recalled that, ‘Of all the shows I did Oklahoma! was my favourite, even though the director, Clive Hearne, wanted me to dance. He wanted me to leap in the air, click my heels together and come down gracefully. This proved to be an insurmountable challenge.’ A brief return to Gilbert and Sullivan occurred in 1969 with Iolanthe (budget $1,300), before the company finally moved completely away from Gilbert and Sullivan with its second show for the year, a lavish production of Brigadoon. CLOC MUSICAL THEATRE 1964-2014 9

In addition to the arrival of Grant Alley, amongst the cast of the townsfolk Future productions would be at a venue more suited to CLOC’s vision of Brigadoon was Meryl Goodrem (subsequently Withers), a young singer for the future. The venue selected was Monash University’s new destined to become another of CLOC’s longest serving supporters, Alexander Theatre, a state-of-the art facility with seating for five hundred. performer and dedicated committee member. This measure of the company’s increasing confidence was reflected in an By this time, the committee had also established a hiring business for article in the local media which provided some interesting insights into just costumes and scenery and, as evidenced by an invitation in the Brigadoon how much had been achieved since the comparatively modest venture program, was now extending a very warm welcome to ‘anyone interested into Gilbert and Sullivan with The Pirates of Penzance compared with the in joining our team – back stage, scenery construction and painting, large-scale production of Die Fledermaus: publicity, front of house staff and of course performers.’ The Cheltenham Light Opera Company was formed eight years ago. There The company continued to grow, productions became more ambitious were only twenty members when the company first started. Today it has a full and the Cheltenham Light Opera Company began to build a reputation ballet and complete orchestra. Secretary Russ Etty said Die Fledermaus was as a well-managed producer of high quality musicals. An exceptional as big as any production the company had tackled in the past. ‘It will be a team, comprising talents like Vic and Jeanette Proposch, Russ Etty, step forward for us in that it will be presented at the Alexander Theatre which John Hales, Rod McKenzie, Grant Alley and Barry Reaper was carefully has a stage wider than the Sydney Opera House. In the past our productions setting the direction for the future, while others, such as Betty Pink, have been presented in school halls, Gwynn Upfill, Meryl Withers and Dorothy Etty (later Tyson), continued At the same time, however, the move to the new venue brought new to make important contributions. A measure of how much had been challenges for the committee and when asked to describe the impact achieved in just six years is evidenced by the tone and content of a very Barry Reaper later recalled: complimentary article that appeared in the local press in early 1970: I was President at the time when we decided to go to the Alexander Theatre. The next production of the Cheltenham Light Opera Company is Orpheus The first show was Die Fledermaus. That was a big challenge for us. We didn’t in the Underworld, to be followed later in the year by Music Man. Both know how we would survive. How would we sell the tickets? How would we productions will have a full orchestra under the baton of Ernie Shade, pay for the theatre? How would we fill the theatre? the company’s musical director. In charge of the chorus for both shows is In the event, such misgivings proved unfounded. Directed by Max Grant, Rod McKenzie. Ron White is the producer, having already produced the with musical direction by Ernest Shade and choreography by Strelsa company’s last two shows, Oklahoma! and Brigadoon. Strelsa Heckleman is Heckelman, the company’s landmark production of Die Fledermaus had choreographer and is capably meeting the challenge of the dance routines in a cast of fifteen main roles, with a chorus of thirty-two, eighteen dancers Orpheus. The scenery is designed and painted by Jeanette Proposch and is and an orchestra of twenty-seven. The names of company stalwarts, constructed by her husband Vic. Jeanette is a member of the Beaumaris Art Grant Alley (stage manager), Rod McKenzie (chorus master), Russ Etty Group. The company has approximately one hundred members. President is (house manager and ticket secretary), the Proposch family, John Hales John Hales, a Brighton dentist. (chorus), Meryl Withers (chorus), Barry Reaper (chorus) Maureen Allen As 1970 drew to a close a young Grant Alley had stage managed The (props) and Betty Pink (prompt) feature in the program, which cost just Music Man and was already making his presence felt as a member of 20 cents. When describing the contribution of Barry Reaper, for example, the committee when at the October meeting he ‘stressed the need for Grant remembered him as ‘one of the mainstays, the backbone of the help backstage and having rehearsals with the curtains and scenery.’ At organisation really. Barry was a manager with the Commonwealth Bank the same meeting there was a mention of the forthcoming wedding of and his very considerable skills in financial control and management Meryl Goodrem and concern was expressed as to the quantity of alcohol proved to be extremely beneficial to the company, not just in its early days that had been consumed backstage during the recent production of The but long term as well. The CLOC of 2014 owes a huge debt to people like Music Man – with the result that the consumption of alcohol was banned Barry, Russ Etty and John Hales.’ from backstage thereafter. For the first time, the program invited patrons In addition to the move to the Alexander Theatre, the company had also to join the new preferential booking list – an initiative of very dedicated established its first workshop and storage area in a large barn in Brighton. secretary Russell Etty and a strategy that was to be the foundation of a Up to this point, the sets had been built in Vic Proposch’s driveway and successful approach to growing ticket sales. largely stored in his garage so the use of the barn enabled sets to be In 1971, after more than two years of very careful deliberation and constructed in more convenient surroundings. planning, and an interim move to better facilities at Cheltenham High Despite some initial misgivings, exchanging school halls for the Alexander School, the committee made a very bold and courageous decision. Theatre proved to be a turning point for the company. Through a lot of Carousel would be the last production to be staged in a school hall. hard work by people like Russ Etty in building the preferential and group booking lists, along with advice and guidance from the management and staff at the Alexander Theatre, the Cheltenham Light Opera Company continued to grow and prosper. At the same time, however, the historic change did not come without its casualties. Moving out of the local area, a more professional approach to productions and the increased pressures of mounting shows in a real theatre meant there had to be some major adjustments made to both the company as a whole as well as to some of the details of its operation. Apart from a decline in membership numbers, the next decade would see the loss of some valuable and significant early CLOC identities such as Vic and Jeanette Proposch. Nevertheless, as the events of the next decade would prove, such developments would be more than offset by the arrival of new members such as John Davies and Sandra Davies and the continued work of a host of talented individuals including Grant Alley, John Hales, Horrie Leek, Barry Reaper, Rod McKenzie and others. It would be their commitment and expertise that would have a major bearing on securing and maintaining the company’s long term. 10 CLOC MUSICAL THEATRE 1964-2014

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Chapter Two MOVING FORWARD 1972-1982 T he production of Die Fledermaus in 1971 represented another turning separately saw the committee agree to ask the Moorabbin Council ‘if land point for the company – a return to operetta. Over the next five could be provided for the erection of a pre-fabricated garage.’ years audiences would enjoy a series of well-known examples of the Operettas continued in 1973 with the two shows being Naughty genre with productions of The Desert Song, Song of Norway, Naughty Marietta in April, followed by Kismet in September. Both productions Marietta, Kismet and The Merry Widow. However, by mid-1975, the featured large casts of principals and chorus supported by experienced company was ready for another change of direction, reverting back to production teams and an orchestra of up to thirty players. During 1973 the American Musical with an exuberant production of the Cole Porter the committee recognised that the new conditions at the Alexander classic Can-Can. Theatre required a different approach to set design and construction and For the first show of 1972, the committee had selected Sigmund the decision was taken to ‘look outside the company for a scenery and Romberg’s popular musical drama of the 1920s, The Desert Song. set designer’, a move which would entail the payment of a honorarium Directed by Harold Burrows, musical direction was by Ernest Shade and and the engagement of a designer for each subsequent show. At the choreography by Graeme Coombs. Just three years on from Brigadoon, a same time, the engagement of Marie Cuminsky as director of Kismet also young Grant Alley was firmly established as the company’s stage manager, marked a change of direction for the company. As Grant later recalled: while the names of Cheltenham stalwarts such as John Hales, Warren Marie had a very impressive track record in professional theatre. She brought Harding, Barry Reaper, Dorothy Etty, Betty Pink and Rod McKenzie in other professionals and a whole heap of new ideas about how the show featured in the cast list. As they had since the company’s inception, would look and what the chorus was expected to do. Up until then the chorus members of the Cheltenham Art Group painted the scenery which had didn’t really move. Basically they just stood there and sang and CLOC was been designed by Jeanette Proposch and constructed by her husband Vic. renowned for its wonderful chorus work. But for Kismet, Marie said they had Publicity in the local media highlighted the professionalism of the to move and this marked the beginning of another era for CLOC and new production while also focusing on the interesting theme of what one expectations about what could be achieved in terms of professionalism. reporter saw as The Desert Song’s ability to bring together performers In recognition of Jeanette Proposch’s excellent work over what was now of all ages and backgrounds. In a lengthy article entitled: ‘Bridging the almost a decade, it was agreed that she should be paid ‘a fee of $100 for (Musical) Generation Gap, Young Ones Groove to Desert Song’, the Kismet set design’, while the Kismet program contained an writer put forward the proposition that: acknowledgement that: Bridging the (musical) generation gap was just one of the achievements In the world of the theatre, scenery and property are often taken for granted. of Cheltenham Light Opera Company’s production of Sigmund Romberg’s Cheltenham Light Opera Company places great importance on these Desert Song. The show was a delightful exercise in nostalgia for the oldies in departments and members spend many hours ensuring authenticity of design the audience and proved a surprisingly pleasant experience for the young and bringing reality to the designer’s plans. In our productions, properties and ones too, if remarks overheard during and after the performance were any costumes are prepared or maintained by our own members. In the case of indication. The entire production was of a most professional standard, each scenery painting the assistance of the Cheltenham Art Group is invaluable. department achieving new heights in the quality of its contribution to the From its inception, the company had been managed by a committee overall excellence of the show. Ballet sequences were gems with exciting solo of ten which in 1973 consisted of: Rod McKenzie (president), Warren work by Barbi Satchell who not only danced but acted the part of Azuri with Harding (vice-president), Russ Etty (secretary), Clarrie Stillman consummate skill. (treasurer), Vic and Jeanette Proposch, John Hales, Grant Alley, Barry Later in the year, the same writer pronounced the company’s second Reaper and Lola Gibney. For the Proposch’s, however, times were show, the operetta Song of Norway, as ‘Another hit for Cheltenham changing and Kismet would be their last show. Later described by Grant Light Opera’, describing the production as: as ‘the mainstays of the company up to this time’, their contribution to the not only a source of pleasant entertainment but a memorable experience. establishment and early growth of the Cheltenham Light Opera Company A well-chosen cast under producer Ron White were dressed in excellent had been invaluable. For Grant, Vic had been a mentor, generous in his costumes and played against sets which, though not quite up to recent readiness to share his knowledge and love of music theatre with the standards set by the company, were still very good. Musical director Ernest young enthusiast. Shade had brought together a well-knit and very competent orchestra which Shows selected for 1974 were La Vie Parisienne and Kiss Me Kate. Chosen added immensely to the quality of the production, even if in the opening as the show to celebrate CLOC’s tenth anniversary, the staging of La Vie scenes, members forgot that precious snow flake quality and overshadowed Parisienne also represented the Victorian premiere of this show by an the performers. Imaginative lighting added greatly to the show and lifted amateur company. Directed by music theatre stalwart, Harold Burrows, the last scenes to a level of enchantment seldom seen in non-commercial other members of the production team for La Vie Parisienne included: production. Each member of the ensemble deserves special praise for Glenn Jones (Musical Director), Graeme Coombs (Choreographer), individual excellence and magnificent teamwork. Gerd Bayer (Set Design), Geoff Simmonds (Lighting Design), Olive Monish At the same time, a paragraph in the Beaumaris Newsletter for (costumes) and Grant Alley (Stage Manager). Cast members included September 1972 drew attention to the fact that after eight years CLOC identities Warren Harding, Barry Reaper, Dorothy Etty, John Hales, operation, the company was still very much a local entity: Betty Pink, Audrey Speedy, Gwynn Upfill, Mick Clutton, Rod McKenzie A very big cast has been assembled for the Cheltenham Light Opera and Phyl Curtis, Neil Shilton, Judy Semmens, Steven Ainley, Maureen Company’s production of Song of Norway and quite a number of people living Allen, Shirley Clutton and Tom Pink as members of the Production Team. in Beaumaris and active in the line of theatre are in this production. Admission Unsurprisingly, given the company’s excellent reputation, La Vie Parisienne charges are $1.60 for adults and 80 cents for child/students. was the subject of some well-deserved accolades in the local press with From a wider cultural perspective, 1972 marked a break with tradition the Standard Times reporting that: in that it saw the committee decide the National Anthem would be The production by the Cheltenham Light Opera Company of La Vie Parisienne played only at the ‘first and last performance of each show and when was a milestone for the company in more ways than one. A nicely balanced representation of the Crown is in attendance in his official capacity.’ company turned on a satisfying entertainment for appreciative audiences, Initially, the motion had been to discontinue the playing of the National marking a return to the high standard for which the company has been Anthem completely; however the suggestion was challenged most known. It was a well-dressed production with costumes, sets and lighting forcefully at committee level by John Hales. At the same time, the ongoing blended into a fine piece of theatrical presentation. Especially remarkable was storage problems and the need for a designated place to store costumes the great improvement in confidence and capability shown by two players well-known to the company’s fans. They were Clarrie Stillman and Barry 12 CLOC MUSICAL THEATRE 1964-2014

Reaper. A real ball of fire throughout the performance, Barry stole every enthusiasm and dedication as secretary’. In recalling the contribution scene in which he appeared. Another CLOC favourite appearing was Dorothy made by Russ, Grant described him as ‘the mainstay of the company, the Etty as Gabrielle who sang delightfully. rock, the organiser and manager. Russ worked in the Tax Office and he A brief move away from operetta occurred in the second half of 1974 laid down standards in relation to administration, marketing and record when it was decided to stage Cole Porter’s Kiss Me Kate. The seven keeping that provided a very effective base from which the company performances of this popular show proved hugely successful netting a could operate’. profit of $791. For the first time photographs of the main principals Described as ‘a musical play’ White Horse Inn was CLOC’s twenty-fourth (Helen Sinden, Don Moran, Christine Andrew and Alan Burrows), production and again featured many of the company’s members in both producer (Ray Burgess) and musical director (Kenneth Taylor) appeared on-stage and technical roles. in an impressive sixteen page program which was widely acknowledged The show’s eight page program contained photographs and biographies of as ‘the best effort to date’. Local publicity was again favourable, with leading cast members Lola Gibney (Josepha), Barry Woodford (Leopold), compliments all round and recognition that the company, which had now Barry Skelton (Valentine Sutton), Verity Cormack (Ottoline) as well as been in existence for ten years, was achieving high standards in all aspects director (Michael Blake), musical director (Ken Taylor) and choreographer of music theatre production: (Jennifer Watson). With Kiss Me Kate, the Cheltenham Light Opera Company has truly come Amongst the chorus of ‘villagers, tourists, guests, hotel staff, ADCs’ were of age. Staged at the Alexander Theatre at Monash University the production performers John Davies and a young Sue Johnston. For John Davies White was a showcase for the company’s skilfully blended talent, framed by the Horse Inn would be the beginning of a long association with CLOC and disciplined and pleasing music of an excellent orchestra. Congratulations in ensuing years he would make a huge contribution to the success of the are due to producer Ray Burgess, musical director Kenneth Taylor and organisation, serving in the positions of President, Treasurer and choreographer Graeme Coombs, to set designer and artist Laurie Lane and committee member. to Grant Alley and members of the company for set construction. As with so many others who have been involved with CLOC over the In early 1975, as preparations for The Merry Widow were underway, the years, hugely talented Sue Johnston went on to have a very successful committee selected Annie Get Your Gun and The Student Prince as the career in theatre - as Suzanne Johnston. White Horse Inn also marked shows for 1976. Following successful negotiations with the Moorabbin the one and only stage appearance of company legend Grant Alley. Council to purpose-build a dedicated workshop and storage facility in Having appeared in a walk-on role as a fireman, Grant’s talent clearly McKinnon, the company received a grant of $5,000 from the Ministry of went unnoticed and he subsequently returned to his rightful place and the Arts for fit-out and equipment. Fifty years on, the McKinnon facility areas of expertise backstage, front of house and sitting at his desk writing remains as a vital storage facility and CLOC is still using some of the computer systems and programs for all manner of company undertakings. original equipment purchased with the grant from Premier Dick Hamer’s In early 1977 the committee decided to drop The Gypsy Baron in favour Liberal government. of a possible production of Godspell in early 1978. Rod McKenzie was The production of Franz Lehar’s beloved 1905 operetta, The Merry delegated to find out about availability of the rights for Godspell – as Widow, was directed by Ron White with musical direction by Ken Taylor ‘the youngsters are very keen to put the show on’. Several months later and choreography by Strelsa Heckleman. Principal roles were filled by the ‘young people’ reported that they were keen to do The Wizard of Junewyn Jones (Anna Glawarri), Barry Skelton (Count Danilo), Lola Oz – though the committee decided this show ‘would appear to present Gibney (Valencienne), Jim Oats (Camille de Rosillon) and Don Moran as difficulties with respect to the construction of scenery’. Baron Mirko Zeta. Other cast members included company identities such 1977 also marked the beginning of a company newsletter, On Cue, though as Barry Reaper, Warren Harding, Gwynn Upfill, Meryl Withers, Mick publication was to prove somewhat irregular for several years. The first Clutton, John Hales, Horrie Leek, Rod McKenzie and Geoff Upfill, while issue introduced readers to a new concept, the ‘Jottings’ column which the names of Neil Shilton, Phyl Curtis, Judy Semmens, Diana Guymer, was ‘designed to let the company know what is going on socially, and what Maureen Allen, Olive Monish, Laurie Lane, Shirley Clutton and Tom and is happening to members.’ Productions for that year were Fiddler on the Betty Pink were amongst the list of those who contributed as part of a Roof and My Fair Lady. A contemporary press clipping reported that as large Production Team. with several previous shows Fiddler had been booked out, ‘again proving By the staging of Can-Can, the second show for 1975, the company the popularity of this talented group; while My Fair Lady was described by typically had from fifty to seventy performers on stage – with chorus the Moorabbin Standard, as ‘the most ambitious production Cheltenham participation in productions being automatic once an individual’s Light Opera Company has attempted; Russell Murphy is directing, membership was accepted. However by the end of 1976, cast numbers Ken Taylor is the musical director and Anne Peterson has choreographed on stage had increased to a total of seventy-eight for White Horse Inn. At this point, the committee decided that going forward; auditions would be held for every part in each production. Not surprisingly, this decision irrevocably changed the nature of the company as many long serving members began to miss out at auditions and overall numbers appearing in productions were reduced to fewer than fifty. At the same time, the end result of the new policy was a further improvement to the overall quality of productions. Mid-1975 had seen the committee agree to cancel The Student Prince in favour of a production of White Horse Inn as the second show for 1976 and The Gypsy Baron as the first show for 1977. A preliminary budget for Annie Get Your Gun shows an anticipated profit of $950 based on an income of $9,150 (nine performances and program sales) and expenses of $8,200. The death of long-standing company member Russ Etty in 1976 was a very sad occasion for all who knew him and marked by a tribute in the program for White Horse Inn which acknowledged the enormous amount of time and energy Russ had devoted to CLOC and ‘his CLOC MUSICAL THEATRE 1964-2014 13

the dance sequences.’ A cast of over thirty included company stalwarts As with all theatrical productions, sets and costumes had been a huge Horrie Leek, Rod McKenzie, John Hales, Warren Harding, Dorothy amount of work and just what was required from company members at Etty, Betty Pink, Neil Shilton, Meryl Withers, Gwynn Upfill and Geoff this time in terms of practical assistance was outlined in a newsletter: Harrison. As always, performers were supported by a large production Perhaps the most difficult jobs to be done for this production of La Belle team featuring identities such as: Grant Alley (stage director and set Helene (or for the production of any show) are the making of the costumes construction); Di Guymer (stage manager); Maureen Allen (prompt); and the building of the sets. We are depending on your help for both jobs. Olive Monish (costume co-ordinator); Betty and Tom Pink (ticket Ladies: you will be required to assist with the making of some costumes. If you secretaries); rehearsal pianists Phyl Curtis and Judi Semmens and Mick feel that you can (a) make your own costume if we provide the material and Clutton (program). pattern (b) make additional costumes as well – please advise Horrie Leek Following My Fair Lady, 1978 saw Half a Sixpence and Oliver then Guys now. Men: you will be required to attend working bees for sets construction. and Dolls and Gypsy in 1979 and Oklahoma! and La Belle Helene in 1980. These will take place on Saturday afternoon at our McKinnon Road store. Towards the end of 1978 committee discussions turned to issues relating Making his music theatre debut playing the role of Orestes in La Belle to ‘where the company was heading’, whether to cancel Gypsy (as there Helene was Jonathon Welch, a young school teacher whose previous was only one number for the chorus) and the formation of a sub- stage experience had been in productions at Melbourne High School committee for on-going production planning – the first members being and Melbourne State College. Welch joined CLOC for How to Succeed John Hales, Ken Taylor and Meryl Withers. in Business Without Really Trying and Hello Dolly and would later go on to Some months later, in May 1979, the results of an audience survey develop a high profile career with The Choir of Hard Knocks and other revealed that recent ‘shows most liked’ were My Fair Lady, Fiddler on the activities relating to music and performance. Roof and Oliver and ‘shows asked for’ were The Sound of Music, Gilbert Committee discussions in 1980 regarding possible future shows reveal that and Sullivan, South Pacific, Oklahoma! and The Merry Widow. ‘the third most popular show asked for was New Moon – others being The question of casting for the forthcoming production of Oklahoma! had Paint Your Wagon, Mack and Mabel and Brigadoon. And moving with the been a subject of considerable discussion at committee meetings in late times as always, Betty Pink had suggested that the company ‘investigate 1979 and early 1980. While it is recorded that the director ‘has indicated the cost of purchasing answering service equipment’. Wrapping up the he prefers young people for Act 1 and Act 2’, the committee agreed that year financially, CLOC had made a profit of $4,626 on Oklahoma! but a ‘we are looking for full participation for all members’. The view of the small loss of just over $500 on La Belle Helene. committee regarding just who would be performing in Oklahoma! was In March 1981 members received a memo from the secretary, Horrie made clear to the director (Michael Blake) and the president reported Leek, informing them that ‘the committee of the Cheltenham Light Opera that following a conversation with the director it had been agreed that Company was considering alternatives available to form the company into ‘most of the ladies will be on stage for the numbers Many a New Day a registered company.’ In outlining the proposal in more detail, the memo and Kansas City and most men in It’s a Scandal’. informed members that as the organisation was an unincorporated The company’s second production of Oklahoma! had its premiere on association with no separate legal entity, ‘in the event of an action being 25 April 1980 and in contrast to the 1968 rendition included all dance taken against the company by any outside party, each individual member numbers which was choreographed by well-known ballet identity Jeanette of the company could be held responsible.’ Members were advised that Liddell. The role of Curly was played by Geoff Harrison while other key the committee believed it was vital to proceed with the proposal ‘in order parts were filled by Marguerite Howlett (Aunt Eller), Trudy McKenize to ensure that no member of the company is ever placed in the position (Laurey), Les Wood (Will Parker); Sally Macarthur (Ado Annie), Geoff of being personally responsible for the company’s debts’. Given that at the Sussman (Ali Hakim) and Trevor Dawson (Judd Fry). For cast members time members of another amateur musical company were faced with the John Hales and Marguerite Howlett this was their second Oklahoma! – possibility of personal liability for debts incurred, this proposal represented John having been Will Parker and Marguerite Ado Annie in the 1968 show. a very important step for CLOC – one which would establish a more Offenbach’s La Belle Helene opened at the Alexander Theatre on 10 formal and business-like framework for its operations and ultimately result October 1980 and was directed by Grahame Murphy (his fourth show in its incorporation as a company limited by guarantee. Three months for CLOC) and musically directed by Ken Taylor – who was not only later, at a special general meeting, held on 11 June 1981, members voted a committee member but by now a veteran conductor of thirteen to proceed with the proposal to set up a Trustee company following the consecutive shows. seeking of appropriate legal advice. What was subsequently recommended by a lawyer was that the Cheltenham Light Opera Company should proceed to incorporate as a company limited by guarantee, although in the event it would be several years before this actually occurred. How to Succeed in Business Without Really Trying was the first show for 1981 and marked Chris Bradtke’s stage debut with the company. Hugely talented as both a performer and later director, Chris was cast by director and choreographer, Graeme Coombes, in the leading role of Finch. In preparation for this ambitious production, CLOC’s January newsletter informed male cast members that with respect to costumes they were required ‘to wear a grey suit or a brown suit. If you have either or both and are willing to wear them on stage please bring them to rehearsal.’ On the technical side, members were reminded that construction of sets had begun ‘and all available help is required. A roster for the men will be posted on the notice board. Please attend as required. Ladies are always welcome too.’ Company members were also advised that the committee had agreed that with respect to the next production, ‘any chorus members of How to Succeed could go into the chorus of Hello Dolly without an audition provided they advise the secretary prior to audition dates.’ While an accepted practice at the time, ultimately the company’s growing focus on professionalism would see a change of policy regarding 14 CLOC MUSICAL THEATRE 1964-2014

cast selection. Where company membership had once been a guarantee For Robert and Elizabeth ticket prices were $6.50 (adults), $4.50 of a place on stage, by the end of the 1970s every aspiring cast member (pensioners and tertiary students) and $3.50 (children). Set construction now had to audition. was contracted out to Grant Alley and cast members were advised that A report in the newsletter for September 1981 gave details of the although they ‘would not be required to attend working bees for set forthcoming production of Hello Dolly and an informative overview of construction on a regular basis’, they may be called upon ‘to lend a hand some notable cast members of the time, including the ‘welcome’ return of occasionally as we get nearer to bump-in (so) please be prepared to Jonathon Welch (playing Barnaby Tucker) who: co-operate if and when called.’ A snapshot of production costs in the has just completed a season of Pirates of Penzance with Dennis Olsen and early 1980s reveal a budget of $25,000 for ten performances of Robert prior to that played Freddie in Starlight’s My Fair Lady. Jonathan is a student and Elizabeth, which included $7,000 for the hire of the Alexander of Bettine McCaughan. Lynda McConnell: must be our keenest member. Theatre, $700 for advertising, $2,000 for costumes, $3,000 royalties, She travels to rehearsals from West Meadows. Lynda has appeared with $6,000 professionals, $3,500 scenery and so on. Estimated income from Camberwell Youth Theatre and in school productions. She holds an arts ticket sales and programs was $28,489. The excellence of this quality degree and works with the Department of Community Welfare. Geoff production was recognised at the end of the year when Robert and Sussman: is a man of many interests. He is a clinical pharmacist by profession Elizabeth won Guild awards for Best Setting (Pat Morton), Best Costume and as well as theatre he sings as a cantor in the liberal synagogue. Geoff ’s Design (David Richards) and Best Actor (Rex Callahan). past shows with CLOC include Succeed (Wally Womper); Oklahoma! Following Robert and Elizabeth, the second show for 1982, No No (Ali Kahim); Gypsy (Mr Kringeline); Guys and Dolls (Benny South Street). Nanette, was a crowd pleaser featuring toe-tapping songs and dance Bringing a wealth of theatrical experience to his role as director was the numbers. Joining the company were Norman Hocking (Jimmy Smith) extraordinarily gifted Alan Burrows. Alan had first worked with CLOC in and Donna Zen (Lucille Early). Both Norman and Donna came with a 1975 as the director of Can-Can and then later as a performer in Gypsy in wealth of experience – much of which had been gained in music theatre 1979. Over the ensuing decades, Alan would go on to play an important companies which, unlike CLOC, have not stood the test of time: Norman role as director of numerous highly successful productions such as Evita, had been cast in leading roles with Heritage and Southern Cross Light 1776, Mame, Barnum, Funny Girl, Kiss Me Kate, Singin’ in the Rain, My One Opera, while Donna had performed with Festival, Heritage and Starlight. and Only and the fifty year anniversary show, 42nd Street at St Kilda’s Described in the program as ‘CLOC’s lavish production (which) brings National Theatre in 2014. you glamorous sets, snappy costumes, unforgettable tapping routines Meanwhile, the early months of 1982 saw continued appeals to company and all the razzle-dazzle associated with Broadway musicals of the 1920s’, members, who were asked to make strenuous efforts to promote the cast also included Chris Bradtke (Billy Early), Nancy Dell (Sue Smith), ticket sales for the ten performances of Robert and Elizabeth, the first Dale Burridge (Tom Trainor), Dawn Mau (Pauline), Jenny Mears (WInnie production of the year. It was strongly suggested to all involved that they Winslow), Jenine Etty (Betty Brown) and Kristina Saunders in the title approach family, friends and work colleagues because ‘no-one except us role of Nanette. FEIP awards recognised Graeme Coombs’ outstanding has ever heard of Robert and Elizabeth so you’ll need to tell them about direction and choreography, and the show won Best Production for 1982. the story and the music and what a great cast we have assembled for it. During 1982 the persistent problem of storage space was again at the Robert and Elizabeth will be a hard show to sell and we need your help.’ forefront of committee concerns. Treasurer, John Davies, was authorised This prediction proved correct. The March newsletter pointed out that to write to the City of Moorabbin seeking assistance with securing suitable as sales of tickets to company members ‘are pretty terrible’ everyone was space to store an ever-increasing number of company assets – a request urged to make ‘a big effort’ on the basis that ‘surely we can all dig up ten which was met with a polite, ‘the Council regrets being unable to assist or twenty friends who would like tickets.’ the Opera Co. with additional storage space at this stage.’ Although the move to the Alexander Theatre had been undertaken with some degree of trepidation, the new, much more professional, venue was to prove hugely successful for the company, significantly enhancing its reputation and status as a leading producer of quality music theatre. In the decade since making the transition from school halls to a purpose-built theatre, the Cheltenham Light Opera Company had built a substantial list of enthusiastic patrons and a solid base of very talented and dedicated volunteer workers. It would be their expertise and enthusiasm which, while continuing to focus on the day to day management would begin to focus on the development of strategies to secure the company’s long term future. CLOC MUSICAL THEATRE 1964-2014 15

16 CLOC MUSICAL THEATRE 1964-2014

Chapter Three GROWTH AND EXPERIMENTATION 1983-1992 I n 1983, CLOC stunned the theatrical – both professional and non- Sweeney Todd was followed by a more conservative choice - another professional - world by taking the bold and unprecedented step of production of Orpheus in the Underworld. By this time, ticket prices had mounting the Australian premiere of Stephen Sondheim’s Sweeney risen to $8.50 (adults), $6.50 (pensioners and students) and $4.50 (children) Todd. Described in the program as ‘a highly acclaimed masterpiece which and the company was becoming known for the professionalism of what combines outrageous elements of black comedy, horror, suspense and was becoming a very proficient management team. Production co- melodrama with a brilliant score’, this ground breaking production would ordinator for Orpheus was Sandra Davies – described in the newsletter mark the beginning of a new stage in CLOC’s continued growth as ‘one of CLOC’s unsung heroes’. A company member since 1981, Sandra and development. had soon established herself as highly capable and ‘a very hard worker Directed by ‘Sondheim specialist’, David Wilson, with musical direction by for the success of our shows’ who had become well-known ‘for her calm CLOC’s immediate past president, Ken Taylor, the role of Sweeney Todd, approach to all problems’. As ‘the other half of the Davies team’, John had The Demon Barber of Fleet Street, was played by the brilliant baritone, been an active cast member since the 1976 production of White Horse Donald Cant. Cant’s impressive background in professional opera and music Inn and his reputation for devoting ‘a great deal of his spare time to making theatre was complemented by a strong cast of highly talented performers things happen for CLOC’, included serving as treasurer for the previous that included: June Lownds (Mrs Lovett), Joanne Haverly (Johanna), Steven three years. Ritchie (Anthony Hope), Bill Evans (Tobias Ragg), Janette Monish (Beggar In September 1983 the company announced that while they had initially Woman), Grahame Murphy (Pirelli), Barry Skelton (The Beadle), Vin Foster decided to stage Lola Montez as the first production for 1984, they had (Judge Turpin) and CLOC stalwart Horrie Leek (Jonas Fogg). Moreover, been unable to obtain rehearsal material and had had to quickly select an even before opening night media interest in the production revealed the alternative show. The choice of Lola Montez was an interesting one and scale of CLOC’s achievement. For example, TV Scene’s article ‘Cut-Throat would have been another first for CLOC as the show was an Australian Theatre’ reported that: musical set on the Ballarat goldfields of the 1850s and had been first It’s not often that an amateur theatre company goes into a production with performed professionally by the Elizabethan Theatre Trust in 1958. a budget of $35,000. It’s rarer still for an amateur company to put on an 1983 was also an important year in the company’s development in terms Australian premiere. But companies are beginning to pick up overseas musicals of both its artistic and strategic development. As preparations had not yet used by the professional groups. Cheltenham Light Opera Company continued apace for CLOC’s inaugural venture into the world of Stephen will premiere Stephen Sondheim’s Sweeney Todd on 8 April. Director of the big Sondheim, management was focused on show selection for the following budget Cheltenham production, David Wilson, said Sweeney Todd had become year, ways to reduce production costs and ideas for how to get the a cult musical and Sondheim had a cult following in this country, ’I know that company back into profit. At a meeting between President, John Hales, busloads of people will be coming to see the show from Sydney and Adelaide.’ committee member, Neil Shilton and Phil A’Vard, the manager of the And shortly after opening night, the Melbourne Sun newspaper published Alexander Theatre, A’Vard argued that the believed the company was a glowing tribute to CLOC’s audacious step: ‘selling itself short’ with respect to ticket prices. Given the quality of Michael Edgley, Paul Dainty, Robert Stigwood and other theatrical productions, $8 and $7.50 were, he said, ‘too cheap’ and prices should entrepreneurs are cordially invited to eat their hearts out. They have been be raised to $8.90 for the next show and then to $10 in 1984. Other scooped. Sweeny Todd, the Stephen Sondheim musical version of the gruesome suggestions from A’Vard included ‘offering specials for less popular nights tale of the Demon Barber of Fleet Street has premiered in Australia under the – say family tickets for two adults and two children at $20 and making noses of all three of the above show-biz giants. The show’s proud producer? Wednesdays and/or matinees special pensioner deals’. Not even Harry M Miller. It’s the Cheltenham Light Opera Company. A’Vard’s insights reveal just how far the company had developed in Featuring in the Sweeney Todd program was a photograph and brief outline nineteen years. Pointing out that management was now ‘running a of the contribution of key company personality, Grant Alley. By now Grant big business’, he stressed that it was essential CLOC become ‘more was one of CLOC’s longest serving and most dedicated members having entrepreneurial’ in its outlook. He suggested a survey be conducted to been ‘involved in set construction for twenty-seven productions, bringing gather specific information on who was coming to see the shows – age his skill to bear with highly professional results.’ Grant’s fellow committee groups, post-codes, occupations and so on. With that information, CLOC members at this time were: Betty Pink, Gwynn Upfill, Judy Warrell, Horrie would then be in a better position to ‘move towards advertising in a Leek and Neil Shilton while other positions were held by: John Hales manner to attract similar clients’. (President,) Meredith Temple-Smith (Vice-President), Meryl Withers However by the end of the year it was clear that concerns about the state (Secretary) and John Davies (Treasurer). of the company’s finances meant a re-think about show selection for 1984 Although an amazing artistic and public relations success for the company, and the introduction of some measures to cut costs. Having lost money Sweeney Todd lost money ($2,654) and created enough uncertainty that on Sweeney Todd, it seemed that Orpheus in the Underworld would result the management decided to move back to what were considered safer in an even greater financial setback. In the light of this worrying decline American musicals. The show had proved somewhat of a challenge to sell. in the finances, the committee decided not to proceed with the planned Indeed, three weeks before opening night, the company newsletter had production of Brigadoon, but looked instead at doing South Pacific, Calamity noted that there were still many un-sold tickets and appealed to members Jane, The Sentimental Bloke, The Pajama Game or Irene. In addition, time to make ‘a big effort to get Sweeney across to the public’. In the event, at the theatre would be reduced from three to two weeks and budgets however, Sweeney represented a major watershed in the evolution of the for sets and costumes cut back. Not only had the company lost in excess company and as Grant recalled on the eve of CLOC’s fiftieth year: of $4,000 on Orpheus in the Underworld, records reveal an overall deficit Initially the project was driven by Ken Taylor because of its musical content. for 1982-83 of $10,000. However, with $2,400 in the bank, investments Ken and Horrie had been negotiating behind the scenes on behalf of CLOC. of $10,000, two decades of successful productions and a proposal for David Wilson also played a key role. He went to Sondheim to ask for the an exciting new name – CLOC Musical Theatre - the committee and rights because the show had not been released in Australia. The whole thing members remained justifiably optimistic about the future. represented a very daring and bold move by us at the time – very high risk With preparations for Irene underway, the company newsletter published a because we were moving out of familiar territory away from American musicals welcome to Michael Blake who was directing his third production following into something totally unknown. In the weeks running up to opening night we White Horse Inn in 1976 and Oklahoma! in 1980 – and a detailed request hardly sold a ticket and when we opened we were playing to almost empty for assistance with costumes: houses. But by second week we were sold out and asked to take the show to the Comedy Theatre. CLOC MUSICAL THEATRE 1964-2014 17

If you have often said to yourself ‘I’d love to in the bank, help with a show, but I don’t know what to do’ a further $20,000 here’s the answer. To make the costumes for invested, more than a Irene exciting, inventive, pretty and absolutely thousand on the mailing list and was stunning we need your help. We are asking you to in the process of re-establishing itself as an go through your wardrobes and let us have your incorporated entity with a new logo. old men’s suits, coats, jackets, trousers, shoes and The second half of the 1980s was a period characterised by hats. We need the same things in women’s clothes, increasing professionalism and a focus on building administrative and creative particularly if you have any out-of-date formal wear expertise. The company was incorporated and the committee took the which is glittery, pretty, embroidered, beaded or in opportunity to update and rewrite the constitution. Re-branding the any way exciting. Old curtains, lace or brocade or organisation as CLOC Musical Theatre not only reflected the expectations any materials you no longer want will be gratefully of a fast-growing audience and expanding member base but was an accepted. All these will be made over, dyed, added acknowledgement of what had been an exciting evolution from operettas to and taken away to create the large number of to more contemporary music theatre. Buoyed by an increasing confidence, costumes needed for the show at the least over the next five years CLOC Musical Theatre would concentrate on possible cost. improving the quality of its productions both artistically and technically – Following a profitable ten night season of celebrating twenty-five years of successful operation in 1989. Irene, 1985 saw a continuation of comparatively With the nation’s forthcoming Bi-Centenary in mind, the early months conservative choices in South Pacific and Annie. But of 1986 saw the committee return to the idea of producing an Australian the die had been cast two years earlier with Sweeney Todd and there was a musical. Writing to the Bi-Centennial funding authority they submitted a move towards more contemporary shows with Cabaret and Follies (1986), request for financial assistance to produce Lola Montez in 1988. While this Evita (1987), 1776 (1988) and in 1993 a hugely successful production of Les proposal was ultimately rejected, CLOC’s bold move in seeking support, Misérables – an event which was to mark another major milestone in the coupled with the concept of producing an Australian musical for such an company’s development. auspicious event is evidence of the organisation’s growing confidence in Matters concerning the intricacies of management during the first six its own expertise. months of 1985 included the selection of future shows, the process of In early 1986, the company newsletter advised members of an important incorporation, issues relating to the role of the musical director and the development – a name change from Cheltenham Light Opera Company to general running of the company. CLOC Musical Theatre Inc. The selection of the new name marked a further With respect to the all-important progression to incorporation, Grant turning point for the organization, formally establishing it as a producer of remembered this as a time when, following a fire at the Phoenix Theatre music theatre rather than light opera. To mark the new branding, the first and possible legal consequences for members of Whitehorse, the show selected for 1986 was Kander and Ebb’s thought-provoking depiction committee had turned its attention to concerns regarding the issue of of Nazi Germany, Cabaret. legal liability and how this might potentially impact on members. Ultimately As always, everyone involved with the production was urged to do their the matter would be resolved with the incorporation of a new company best to promote the show and sell tickets. Indeed, the newsletter was quite limited by guarantee which would protect members’ interests. At the same forthright in pointing out that ‘as ticket sales are our only source of income, time, a new constitution was adopted, along with a change of name and we must sell each show to stay in business. Please ask all your friends and re-branding. These changes, according to Grant ‘really started CLOC on a family to come along to Cabaret. We know it is going to be a great show so new road again.’ tell them about it and help your company balance the budget’. At committee level, Grant was arguing that with respect to CLOC’s future, Directed by Alan Burrows with musical direction by Cenarth Fox and operations needed to become ‘more streamlined and every little matter choreography by Mary Charleston, the show ran from 25 April-10 May, should not take up committee time.’ Meanwhile, graphic designer Lynn achieving excellent ticket sales of eighty-five per cent. Cast members Allford developed a logo for CLOC Musical Theatre, treasurer John Davies included: Joanne Gabriel (Sally Bowles), Bruce Mackinnon (Cliff Bradshaw), submitted some very detailed estimates of income and expenditure for Frank McCarty (Emcee), Anne Hayes (Fraulein Schneider), Jennie Kellaway South Pacific while Cabaret and Follies were selected as the productions (Fraulein Kost) and Robert Puksand (Ernst Ludwig); while on the technical for 1986. side the production team included: Grant Alley (stage director and set In early 1985 CLOC welcomed new set designer, Kel Pearson, and the construction), Sandra Davies (stage manager, dance captain and production newsletter noted that the stage manager for South Pacific would be Sandra assistant), Graham McGuffie (set design and lighting design), Horrie Leek Davies, whose ‘expert calling has been a highlight of shows such as Irene, (program design and publicity), Geoff Upfill ( front-of-house manager), Orpheus, Sweeney and Nanette. Prompt is the ever faithful Maureen Allen.’ At the annual meeting, CLOC elected its first woman president, Gwynn Upfill – a longstanding member who had sung soprano in many shows. Other positions were filled by Neil Shilton (Vice-President), John Davies (Treasurer), Meryl Withers (Secretary) supported by committee members Kerrin Addis, Janet Cameron, Sandra Davies, Wendy Hodges, Grant Alley and Ian Simmonds. Directed by Alan Burrows with musical direction by Hugh McKelvey, South Pacific premiered at the Alexander Theatre on Anzac Day 1985. Described in the program as ‘Rodgers and Hammerstein’s All Time Hit Musical’, the fine cast included Sarah Herlihy (Nellie Forbush), Alan Coulson (Emile), Joy Burns (Bloody Mary), Gerry Murtagh (Joe Cable), Geoff Harrison (Luther Billis) and company identities Horrie Leek, John Davies, John Hales, Allan Paul, Neil Shilton, Janet Cameron, Meryl Withers and Gwynn Upfill. Ticket sales for the year’s two productions had been excellent. For South Pacific, eighty-seven per cent of seats were sold, bringing in revenue of $32,806 and a profit of $6,442. Annie had average houses of ninety-three per cent and made a profit of $4,827. The company now had almost $2,000 18 CLOC MUSICAL THEATRE 1964-2014

Margaret Sheffield (wardrobe mistress and design), Liz Furlonger (costume Continued discord regarding audition policies was evident at the committee co-ordinator), Rod McKenzie (chorus master) and rehearsal pianists Jerome meeting in February 1987 when, as the minutes reveal, several members Walles and Jan McMaster. In the role of Herr Schultz was Melbourne (Neil Shilton and Meryl Withers) ‘expressed strong disapproval of the theatre identity Clive Hearne who had first worked with CLOC in 1968 as manner in which some Pajama Game matters had been handled’. Yet the director of Oklahoma! then subsequently performing in Annie (Oliver despite this attempt to challenge audition procedures, what were now Warbucks) and Kismet (Hajj). established principles regarding the choice of performers remained. When In suggesting reasons for Cabaret’s box-office success, the committee it came to selecting cast members CLOC would continue to support the concluded that: decisions made by its key production personnel, thus providing a foundation the show name was well known due to the film (though the plots are different), for the continual upgrading of performance standards. confident director, excellent musical director, no dissension within the cast, no At the same time, possible directors for a production of The Grand Tour trouble makers , perhaps video recorders have run their course – were at worst were being considered and the persistent issue of storage space was again a during Orpheus and Irene. subject for discussion. It was agreed that an advertisement would be placed A snapshot of committee activities in May of CLOC’s twenty-second in the Trading Post seeking approximately four hundred square feet of year of operation reveals a meeting attended by Gwynn Upfill (President), storage space preferable in the south-eastern suburbs. Sandra Davies (Vice-President), John Davies (Treasurer), Neil Shilton Mid-1987 brought the news that building was about to commence at (Secretary) and Kerrin Addis, Grant Alley, Janet Cameron, Joanna Gabriel, Brewer Road and CLOC was asked to pre-pay the first year’s rent ($1,500) Bob Sterck and Meryl Withers at which members were advised that to help offset the cost of building materials and work by tradesmen. At Cabaret would make a good profit, but that the forthcoming production the same time, the on-going issue of storage space and the goal of finding of Follies would cost approximately $54,000 and may well result in a loss a permanent home for the company saw a proposal to contact the City of around $3,000 given that ticket sales were not expected to be as of Moorabbin with a view to securing the use of ‘the old Lucas canteen good as those for Cabaret. There was considerable discussion of strategies building on the Cheltenham market site for the purposes of consolidating to get ‘more bums on seats for Follies’. It was recognised that advertising in all our storage, construction and rehearsals in one location.’ Always moving the daily papers and on radio was extremely expensive, and committee felt with the times, Grant was authorised ‘to spend up to $400 to purchase ‘that expansion of the mailing list and pushing cast to make more sales was a suitable answering machine’ and mention was made of the demise of the only real answer’. At the same time it was considered necessary entertainment publication, TV Scene – a publication in which CLOC had to provide an answering machine for messages though it was noted that frequently advertised. while Betty Pink ‘would agree’ to such an innovation, others ‘did not want Integral to all CLOC productions over the years were the talented to use such a machine’. Overall, it appeared that 1986 would be a ‘break- individuals who played for the company at its rehearsals. Pointing to the even year’ financially. difficulties of playing the Evita score on the piano, the August edition of In June, CLOC’s system of paying honorariums provoked some interesting the newsletter acknowledged their huge contribution by thanking ‘Jan discussion following President Gwynn Upfill’s statement that she believed McMaster, Kevin Walsh, Jerome Walles, Veronica Kirsch, Shirley Greenwood ‘the honoraria list was getting out of hand’. The minutes of the meeting for their time and commitment.’ The same publication also paid tribute to reveal a range of views, most particularly from Grant Alley and Neil Shilton: ‘another of CLOC’s living treasures’ with a profile of Rod McKenzie whose Grant responded with the comment that persons will sometimes do a job very involvement had begun nearly a quarter of a century earlier when he: willingly for one show at no honorarium; do the next show with some reluctance; joined the chorus of Cheltenham Light Opera Company late in 1963 in then disappear before they get ‘put-on’ again. The honorarium system was preparation for their second show, Yeomen of the Guard. Rod was a committee intended to counter this feeling. Neil Shilton commented that the honorarium member for twelve years including two years as acting Secretary, three as paid to himself and others, when divided by hours expended worked out at a Secretary, two as Vice-President and two as President. He has appeared ‘peanuts’ rate per hour. He also said that it was okay to accept an honorarium in twenty-nine shows the most recent being Sweeney Todd. Rod was first when the show made a profit but difficult when the show sustained a loss. appointed chorus master for Iolanthe and has continued that role for nineteen The July newsletter reported that ‘our current production of Follies years. Evita will be his thirty-seventh show as chorus master. He enjoys seeing will present a formidable challenge to the company both artistically and so many young people who have worked in school productions auditioning for financially. As we are all beginning to realize it is a big, big show. And we CLOC shows. Rod accepted early retirement in 1985 and moved to Rowville. have a lot of hard work ahead of us.’ Over the next few months, the With a budget of almost $70,000 the committee agreed that ticket prices company was advised by the Bi-Centennial Authority that no funds were for Evita would be $13.50 (adults) and $8.50 (concession). This ambitious available for the staging of Lola Montez, the Follies deficit was around production of a very popular show was directed by Alan Burrows, with $4,000, as predicted in the budget, and that ‘Liz Furlonger would be well musical direction by company veteran Ken Taylor and choreography by capable of handling the making and hiring of costumes for Pajama Game’. Liz Donna Gabriel. Sharing the leading role of Eva Peron were Pamela Pilmore Furlonger would subsequently marry and become Liz Smallridge, making a and Jacquie Smout who appeared on alternate nights. Also in the cast were huge contribution to CLOC as committee member, treasurer and costume Chris White (Peron), Gary Baade (Che Guevara), Steven Ritchie (Magaldi) expert over a period of more than twenty-five years. and Robyn Edmunds as Peron’s mistress. The end of 1986 saw some dissension on the committee following grumbles At the end of 1987, CLOC had investments of $46,000 and the organisation regarding the casting of Pajama Game. More specifically the non-inclusion seemed in a strong position for further growth and development. Revenue of long-standing members Gwynn Upfill and Margaret Shilton in the chorus from ticket sales for Pajama Game had been just over $52,000, of which was the catalyst for some committee members to raise further questions approximately $7,000 was profit, while the answering machine budget had regarding issues relating to ‘company loyalty’ and what they regarded been enough to purchase two answering machines – one for the secretary, as ‘discrimination on the grounds of age’. After some deliberations, as the other for the ticket secretary (Maureen Allen). Evita had also been a committee minutes reveal, it was agreed that ‘greater care must be success. Eighty-one per cent of the tickets had been sold and the company’s exercised at future auditions to ensure that the company rule of established excellent management of the considerable technical challenges involved in company members having preference, all things being equal’. mounting the production testified to the professionalism of what was now Nevertheless, in some respects this event marked another defining a very skilled production team. Indeed, as evidenced in the message from moment in the company’s artistic development. Ultimately, CLOC’s President Sandra Davies which was published in the first newsletter for increasing professionalism, high standards and expectations would 1988, the previous year had seen the company stage: underpin a journey to a position of undisputed pre-eminence in music two outstanding productions in 1987, each very different, but each demanding theatre production. in its own way. Both productions required technical innovation not before attempted by CLOC. For the first time in Pajama Game we used remote CLOC MUSICAL THEATRE 1964-2014 19

controlled electric motors to move the trucks on and off the stage and Evita best loved songs, the program was organised thematically to represent required technical skills in sound, video projection, stage lifts, specifications the company’s evolution from Gilbert and Sullivan and operettas on and construction and lighting. The challenge of these two shows was for every ‘the show that changed the musical forever, Oklahoma!’, then post-war individual involved to stretch themselves and produce a show worthy of the and the emergence of ‘a wonderful new talent, Andrew Lloyd Webber’ standard being presented on Melbourne’s musical theatre circuit at present represented by selections from Evita. and that isn’t easy as shown by the outstanding productions from Festival and Looking back to 1964, from the vantage point of 1989 it was clear that Whitehorse in 1987. much had been achieved since the company’s early days performing in In planning for 1988, a production of The Grand Tour was under church halls and school auditoria. What had started out as a small group consideration, though finding a director was proving to be something of of enthusiasts had evolved into a large, skilfully managed music theatre a challenge. At the annual meeting held on 2 February 1988 the Treasurer production company with a reputation for providing its audiences with high reported that after almost a quarter of a century ‘CLOC Musical Theatre quality entertainment at affordable prices. Having begun with Gilbert and was a big business, running over almost $200,000 per annum with a paying Sullivan, CLOC had soon moved into more contemporary musicals – some audience of around 10,000.’ Planning for the impending silver anniversary of which proved more popular than others but all of which represented a in 1989 was already underway with the establishment of a sub-committee huge commitment to achieving the highest possible artistic standards for comprising Horrie Leek, Joanne Gabriel, Bev McKern and Liz Smallridge. the art form. In recognising this major milestone with a spectacular concert Having been unable to find a director for The Grand Tour, shows selected CLOC was not only celebrating past achievements but was making a public for the nation’s bi-centennial year were the Charles Strouse-Lee Adams’ statement of confidence in the future. Bye Bye Birdie and Sherman Edwards’ 1776. Directed and choreographed In presenting his report at the annual meeting in February 1991, President by Marie Cuminsky, with musical direction by Timothy Smith Bye Bye Birdie Grant Alley noted that despite the ‘difficult economic times’ and increased had opened on Broadway in 1960. Premiering in Australia the following competition from professional productions, the company had mounted two year, it was an immediate hit. In outlining the reasons for selecting the large productions which, while not as financially successful as hoped, ‘were show, the program notes explain that ‘CLOC Musical Theatre searches for extremely well received by our audiences’. In reflecting on what was now a good musical score, an entertaining book and scope for us to utilise the an impressive twenty-six year history, Grant pointed to CLOC’s excellent production facilities of the Alexander Theatre. We feel that Bye Bye Birdie reputation for ‘sound management’ and the recognition that it was ‘the has all of these things, plus an opportunity for young performers to strut most financially stable and well organised amateur musical theatre company their stuff.’ in Melbourne.’ Unsurprisingly, he attributed much of this success to ‘the Selling tickets for 1776 proved to be something of a challenge, as the strength of the committee and the continuity of skills and knowledge mixed committee had understood when selecting the show. Despite winning a with a balance of fresh new ideas and skills being introduced annually.’ Tony for Best Musical and the New York Drama Critics Award in 1969, An additional item of business on the agenda was a proposal to change 1776 with its story of the signing of the American Declaration of the company’s name to Cheltenham Musical Theatre. This new name had Independence was not well-known to audiences. In detailing some been recommended by the committee on the basis that they believed ‘the background for the choice and posing the question ‘Why 1776?’, the existing name of CLOC does not identify us enough with our customers’. program proudly stated that whereas in recent years CLOC had adopted The new name, it was argued would ‘be more meaningful to our customers ‘a policy of presenting not only the tried and true favourites – The Pajama and provide something that our patrons can identify with.’ Following a lively Game, Bye Bye Birdie, Cabaret, etc – but we have contrasted these shows discussion, the motion was defeated. with productions of musicals which are very rarely mounted, either by the 1990 had been a period of consolidation with respect to investments and professional companies or by the amateurs. Such a show is 1776.’ Described relationship building. The McKinnon Road workshop had undergone a as combining ‘a strong dramatic structure with moments of lightness and major internal rebuild to provide more space and new and improved an outstanding musical score’ the production received rave reviews for its power facilities had been installed. Following extensive lobbying with excellent technical achievements and outstanding cast and CLOC ended councillors and a change in strategy it also seemed that the future of the the year on a high note at the Guild Awards when 1776 won Production workshop had become more certain than previously thought. During the of the Year. year CLOC had been the catalyst for concerts at the Dallas Brooks Hall in Disappointingly, however, the show lost money and by the end of the year March and Wonthaggi in August, both of which were held in conjunction Treasurer, Bruce Ackland, had reported that in the light of a $23,000 loss, with Whitehorse and Festival and which provided over $2,500 to CLOC. coupled with the pre-payment of royalties for the next show, George M, Despite a drop in ticket sales for Carousel the production had made a small there was less than $1,000 in the bank. Although the company had money profit. Ticket sales for Mame were also disappointing and when combined invested, it was decided that the budget for George M should be pruned to with an over-expenditure on sets and costumes resulted in a loss – though $50,000, though concerns that the show would just break-even remained. it was expected this would be recouped through the hire and sales of A letter from Horrie Leek expressing disquiet over the financial situation costumes and sets. Moreover, despite its financial difficulties, Mame was was discussed, as were ideas for saving money – including ‘hand delivering hailed as an artistic success with many in the audience claiming it as the mail instead of posting where reasonably practical’. The decision was company’s best production to date. taken to defer the production of Mame to 1990 and arrange a modest In concluding his report, Grant pointed to a matter of some concern – anniversary concert for the second half of 1989. that of an apparent loss of market share and called on the new committee With rehearsals and set construction underway for George M, the to begin ‘immediate remedial action’ aimed at regaining market share and committee turned to the selection of shows for the following year. securing audiences for the future. He went on to say that it was ‘imperative Under consideration were Camelot, Fiddler, Guys and Dolls, The Sound the new committee develop long term strategies covering finance, of Music and Carousel. Having decided to do Carousel on the grounds that administration, production and marketing.’ This, he believed, could be it ‘has something for all, has not been done recently, good dramatic plot, achieved through the application of the committee’s ‘existing knowledge could probably costume from store, good music and songs’, the others mixed with the enthusiasm of fresh ideas’ enhanced by CLOC’s impressive were rejected owing to ‘poor story and big costume expense’ (Camelot); practical skill base. ‘recently done elsewhere and too American’ (Guys and Dolls), ‘everyone In March 1991, Grant presented the committee with a discussion paper else has done it’ (The Sound of Music); ‘no female dancers, limited scope outlining a new organisational structure based on sub-committees for producer’s ideas’ (Fiddler). and more involvement for CLOC’s members. The sub-committee Celebrating twenty-five years in business and fifty productions, the silver recommended were: Administration, Production and Marketing anniversary concert was directed by Alan Burrows and staged at the with Sandra Davies to be appointed to the new position of Alexander Theatre in November 1989. Featuring some of music theatre’s Company Administrator. 20 CLOC MUSICAL THEATRE 1964-2014

Grant Alley’s audiences’. A show such as Sunday was first full year in the position of President saw deemed to be important from an artistic productions of Sweet Charity and Kiss Me Kate point of view, though ‘must be balanced and a proposal to purchase a computer to with productions that appeal to more handle administrative tasks that were becoming of the general public and which are increasingly complex. At the same time a request for CLOC to mount a production of capable to generating profit to cover Godspell on a pro-am basis in the two weeks prior to Easter was defeated our indulgences.’ Indeed, as evidenced though it was agreed that CLOC would consider supporting such a by the enthusiastic response from production with human resources and would be interested in participating theatre critics, Sunday proved to financially for a share in profits. By September the committee was advised be a triumph for CLOC. Described that ‘our finances are looking pretty good at present’ though the ‘excessive daytime use of the Alex’ had resulted in an unexpected bill for overtime by 3CR’s John Gunn as ‘a stunning which had reduced the profit on Sweet Charity to $3,500. production – intelligent in its direction, 1992 began well for the company. At the annual meeting Grant both musically and dramatically, with reported that CLOC had carried out a major review in relation to ticket superb special effects, costumes sales with the aim of developing an improved system that provided better with class and knock-out lighting that information, more streamlined ticketing and which would underpin growth in the preferential mailing list. Against a background of the recession of the left you breathless on occasions, early 1990s, ticket sales for Kiss Me Kate had been only sixty-four per cent, the technical effects often drew against the budgeted seventy-five per cent. Nonetheless, as costs had been spontaneous applause throughout well controlled and CLOC had received some sponsorship from IOOF, the the night.’ Similarly, Bruce McBrien show had managed to make a small profit. was effusive in his praise, describing CLOC’s second production of Cole Porter’s Can Can in May 1992 was followed by the Victorian premiere of Stephen Sondheim’s Pulitzer Prize Sunday as an ‘artistic delight’, winning Sunday in the Park with George. CLOC had negotiated for over commending CLOC for its two years to obtain the rights for Sunday with the intention of staging the professionalism and ‘heroic’ decision to stage Australian premiere of this avant-garde production. However, by opening a work which audiences ‘would not otherwise have the opportunity night on 30 October 1992, Sunday had become a Victorian premiere as to witness’ and praising the expertise of Grant and Sandra for their several months earlier it had been done in Wagga. Directed by Sondheim technical direction and stage management. specialist, David Wilson, others in the large production team included In contrast to Sunday, Can Can had seen good houses and made a profit. Timothy Smith (Musical Direction), Chris White (Scenic Design), Nancy Despite this 1992 was not a very successful year financially in that the Pizzi (Wardrobe), Graham McGuffie (Lighting), Liz Smallridge (Production company posted a loss of around $6,500. In planning for future shows Manager), Alan Green (Audio), Janet Cameron (Rehearsal Co-ordinator), it was felt that the first production for 1993 should be one that would Lois Little, Jan Shepperd and Meryl Withers (Box Office). A cast of twenty attract CLOC’s traditional audience while also being ‘of enough interest – relatively small for a CLOC show – was expertly supported on stage by for new patrons of Sunday in the Park with George to return.’ Further, an orchestra of eighteen, twenty-five stage and lighting assistants and over the show should have either a story line or songs well-known to music the course of rehearsals by pianists Jerome Walles, Jan McMaster, Phillipa theatre audiences, a reasonable sized chorus with significant involvement Safey, Adeline Han, Kellie Ryan, Mark Glikson and Warwick Sharpin. and participation of chorus, plus a strong dance component. It should be In choosing to stage Sunday, the committee had recognised the difficulty ‘a light show with plenty of colour and movement, readily marketable to of marketing this type of show and thus approved a very tight budget the general public and must be mounted at a price which offers a realistic based on sixty-five per cent houses in the hope that this would provide profit return.’ For the second show, it was agreed that it ‘should not be a break-even financial result. Final box office turned-out to be fifty-one an ‘extraordinary’ show while at the same time should not be a show that per cent, a result which meant the company incurred a significant loss. has been over exposed; a middle of the road show of enough interest to The show had not appealed to many of the company’s traditional patrons, attract talent required to mount it and still be of interest to our patrons.’ though a vigorous marketing campaign had resulted in a significant number With these criteria in mind, the show selection sub-committee had of new names being added to the mailing list. Nevertheless, it was agreed recommended Funny Girl and On the Twentieth Century. that CLOC would, from time to time, continue to mount this type of A decade of growth had also been a period of experimentation for the production with a view to providing ‘opportunities and challenges for company – one that had begun with Robert and Elizabeth in 1982 and cast, crew and production teams, along with assisting to build our future concluded with Sunday in the Park with George ten years later. There had been profitable audience favourites, a number of premieres and a spectacular concert to mark CLOC’s silver anniversary. When interviewed by the Moorabbin Standard for an article that outlined the company’s progress Grant reported that ‘although the coffers have run low at times and some shows cost up to $80,000 to mount, CLOC has always managed to stay solvent.’ This, he believed was attributable to the company’s ability to adapt to changing trends in music theatre and had been the key to CLOC’s continued success over the years. Whereas in the early church choir days CLOC had been known for the excellence of its chorus work and six part harmonies for Gilbert and Sullivan, newer musicals called for people who could act and dance as well as sing. As song and dance routines were incorporated into scores so the profile of cast members began to change. Indeed, by the beginning of the 1990s, so professional were CLOC’s productions that the company had become a stepping stone for many young performers wanting a career in the theatre. At the same time, the election of Grant Alley to the position of President in 1990 would mark the beginning of a long period of stability for the company – one that would be characterised by Grant’s outstanding leadership and his vision for what CLOC could achieve artistically and technically. CLOC MUSICAL THEATRE 1964-2014 21

22 CLOC MUSICAL THEATRE 1964-2014

Chapter Four A NEW BUSINESS MODEL 1993-2003 The first edition of company newsletter CLOCTimes for 1993 bought To celebrate its thirtieth anniversary, the first show for 1994 was to have some very exciting news for company members and music theatre been Singin’ in the Rain. Unfortunately however, the planned production enthusiasts. CLOC was to stage the first non-professional production had to be cancelled following the unexpected resignation of the director of Les Misérables in Australia. Following the very high standard of the in December 1993. Unable to find a suitable replacement, the committee previous two shows, CLOC had been ‘especially selected’ to do this was forced to make the difficult decision to cancel the show – something hugely popular new musical which would be directed by the multi- they were at pains to point out had never occurred in the entire history talented Chris Bradtke with musical direction by Kirk Skinner, sets by John of the company. In the event, Stephen Sondheim’s Into the Woods became Burrett, lighting by Graham McGuffie, audio by Alan Green and costumes the company’s thirtieth anniversary production and another artistic by Nancy Pizzi. triumph that resulted in twelve Guild nominations and awards in the The purchase of two new computers saw improvements in efficiency for categories of: Best Production, Sets, Lighting, Technical Achievement, Best what had become increasingly complex and demanding aspects of the Actor and Best Supporting Actor. The committee had expected the company’s administration and ticketing. Meanwhile the first show for the show might lose money, but Into the Woods proved to be popular with year had been Funny Girl, directed by Alan Burrows and starring Emma audiences selling eighty per cent of tickets and making a respectable profit Powell in the title role. Opening night on 30 April 1993 was a sell-out and for CLOC. A very complimentary review in Melbourne’s Herald Sun the show made a profit though overall box-office sales were a somewhat described the show as: disappointing seventy-eight per cent, the result the committee believed of A production bristling with professionalism and enthusiastic audiences competition from ‘an unprecedented level of professional theatre’ and a are showing their appreciation with heavy bookings. Into the Woods has very challenging economic outlook. It was agreed that for the company’s an ingenious mechanical set of moveable trees, trap doors and rough-hewn thirtieth anniversary in 1994 the two productions would be Singin’ in the rooms. The high standard of musical direction, sound, lighting and costume Rain and Barnum. design rate attention. This production by non-professionals (but many with The auditions for Les Misérables attracted more than four hundred impressive performance credits) should keep the wolves well away from hopefuls from which the production team selected Gary Baade to play the door. Jean Valjean, Mark Dickenson (Javert), Monica Bravo (Fantine), Megan The year had also seen an upgrading of the company’s hire business with Coe (Cosette), Scott Hendry (Marius), Emma Powell (Eponine), Marcus the appointment of long standing company member, Allan Paul, as its Millers (Enjolras) and Paul Kennedy and Susan Arnold as the Thenardiers. manager. In addition, some space for the storage of scenery was secured As always, CLOC’s highly skilled committee played key roles in ensuring at Chadstone High School which enabled scenery and excess materials the success of this landmark show. President Grant Alley (who took to be moved from the McKinnon Road workshop, while costumes were a month of his annual leave to work on the complicated sets) was relocated to the unused kindergarten hall adjacent to the rehearsal hall responsible for technical direction and set construction, Vice-President in Brewer Road. A weekend devoted to strategic planning had been very and Administrator Sandra Davies was in charge of stage management, beneficial in clarifying some of the key issues relating to future directions Treasurer Liz Smallridge was Production Manager with assistance from and had seen the development of a Mission Statement stating that the Secretary, Janet Cameron, while other members (Vanessa Bate, Robert company aimed: ‘To set the pace in the production of non-professional Griffin, Lois Little, Barrie Tobias, Mark Wilson, Meryl Withers) worked music theatre of the highest quality within the resources of all involved tirelessly as members of the production team. and to ensure the long-term viability of CLOC Musical Theatre’. With rehearsals for Les Misérables underway the committee agreed The early months of 1995 brought some major challenges with respect that the traditional gala night would be replaced with ‘two special to the ‘unforeseen complexity of staging Barnum, which is stretching champagne nights.’ Opening night on 29 October would be a ‘festive the company to the limit technically and logistically’. In the light of this evening with pre-show drinks and after show supper at no extra cost’ the committee decided it would be unwise to take on another huge and Cup Eve on 1 November would be ‘another champagne popping production, agreeing to defer City of Angels to the following year in favour event with pre-show champagne.’ As reported in the newsletter, tickets of A Funny Thing Happened on the Way to the Forum. The year turned out were selling extremely well and cast members were urged ‘to get to be one of mixed results. Where Barnum had achieved ninety-three themselves organised early to ensure that at least their families see them per cent houses overall and returned a profit of over $14,000, Forum on stage. We know of one booking for one hundred tickets for final night. averaged only fifty-two per cent houses and revenue was well down on We also know that the Sydney amateur production by Miranda opened budget, which had been based on sixty-five per cent houses. However, their bookings recently and sold out in two weeks.’ Tickets did indeed sell judicious control of expenses minimised the loss and the year ended with quickly with cast members purchasing $12,000 worth on the day sales a small surplus. opened. Three days later all Fridays and Saturdays were booked out and Overall, 1995 had seen some significant achievements that included within three weeks huge demand from both groups and individuals had the completion of a detailed organisation chart for productions; meant every seat at the Alexander Theatre was sold bringing in $140,000, comprehensive job descriptions for every production role; the location with subsequent revenue from program sales amounting to just and interviewing of at least twelve new senior production personnel over $10,000. covering roles such as costume and lighting design, costume co-ordination, After almost three decades in business, CLOC’s Les Misérables was a musical direction and directing; participation in a training scheme with huge triumph, one which was described in Stage Whispers as ‘a tour Holmesglen TAFE and the initiation of a new concept in working bee de force for Burrett, Bradtke and CLOC’. It was also a resounding organisation to increase participation by promoting the social aspect of endorsement of the company’s commitment to professionalism and the these events. Importantly, what had been identified in 1992 as a worrying enormous energy and dedication of a host of very talented and hard- erosion of the company’s ‘edge in relation to market share’ had been working individuals. In recognition of the high standard of productions successfully addressed to the extent that market share was once again CLOC received a total of twenty-eight Guild nominations for its 1993 growing and ‘giant strides had been made in securing our audiences for shows Funny Girl and Les Misérables. Emma Powell won Best Actress the future’. for her performance as Fanny Brice in Funny Girl, while Les Misérables 1996 was also a year of mixed successes. 42nd Street had proved hugely took out awards for: Production of the Year, Best Director, Best Setting, popular recording the highest ever ticket sales with virtually every Best Lighting, Technical Achievement, Best Actor (Gary Baade, Mark seat sold and a record profit of $25,000. Described in the newsletter Dickinson), Best Supporting Actor (Marcus Millers), Best Supporting as ‘a consummate success in all aspects’ 42nd Street would be ‘long Actress (Emma Powell), Junior Award (Elizabeth Bradtke, Oliver Knuckey). remembered for its full company numbers’ and ‘choreography to amaze CLOC MUSICAL THEATRE 1964-2014 23

– more difficult than the professional show and executed well.’ With a team comprising Mark Sheedy, Greg Beresniak and Robert Griffin. Both cast of forty-one, CLOC’s team of dressers had been kept busy managing Song and Dance and Chess received numerous Guild nominations and a large number of costume changes while Marketing Director, Robert the company ended the year on a high note when Chess was announced Griffin and his team had achieved ‘a marketing triumph’. as Production of the Year, plus Best Director (Rob Robson), Best Musical In contrast to 42nd Street, City of Angels, a show the company had wanted Director (Andrew Leach) and Best Leading Male (Paul Scott-Williams) to do for some time, lost money. As Grant recalled: while Song and Dance had won awards for Best Choreographer In hindsight I would almost have to admit that this show is too large and (Christine Barratt), Best Lighting (George Kulikovskis) and for Rebecca complex to be mounted by non-professional theatre. With over forty scene Jeffs’ performance in Act 2, a special dance award. changes and demanding set movements, set dressing and special props the In presenting his report for 1997, Grant pointed to the outstanding show was extremely difficult to have ready to present to a paying audience service provided by Allan Paul and the growth in CLOC’s costume hiring by opening night, despite the fact that we opened one day later than normal. business which had an income of just over $23,000 for the year. Grant But putting aside the technical complexity and the problems associated with also highlighted a first for CLOC, the production of a floor show for the achieving an audio balance with our orchestra, CLOC managed to mount a Christmas party of SMS Consulting. Held at the Regent Plaza ballroom, very good production which although not a financial success was very much Puttin’ On the Ritz was a half hour show with a cast from SMS that an artistic success. culminated in a re-staging of 42nd Street’s high voltage number We’re in Directed by Laurie Lane, City of Angels received Guild nominations for the Money with CLOC’s performers. The event proved a huge hit with Production, Musical Direction and Female Performer in a Leading Role, the audience, greatly enhancing the company’s reputation and providing winning awards for Technical Achievement and Settings (John Burrett). some additional income. An article in the Weekend Australian in March 1997 entitled ‘For Love What were now somewhat pressing issues relating to the company’s Not Money’ had described CLOC as ‘one of the country’s largest and future with respect to facilities for rehearsals, construction and storage most successful’ music theatre production companies. Part of this success, had seen the initiation of a two year project aimed at securing a said Grant, could be attributed to the ‘formal management structure that permanent home for these activities. A consultant was commissioned retains experience and brings in new blood.’ to work on CLOC’s behalf and identify possible sites, lobby relevant CLOC now had an annual turnover of $300,000 and investments of authorities and explore all avenues for assistance with funding. As part around $70,000. Where once productions had been done on a shoe- of this project, CLOC had also been developing its involvement with string, the company was now typically spending more than $100,000 the theatre studies departments at tertiary institutions such as Monash on its shows – achieving production values that frequently rivalled (and University and the TAFE Colleges at Box Hill, Holmesglen and Swinburne. sometimes surpassed) the professionals. Following the success of the Other matters of concern to the committee were the question of first planning weekend, another was held to discuss matters relating to the way in which the Alexander Theatre was allocating dates for membership categories, structure of the committee and responsibilities CLOC’s productions, especially with respect to what appeared to be of members. preference given to ‘professional companies using the theatre’; and the The appointment of Allan Paul to manage the costume store and hiring issue of Occupational Health and Safety. Over the years CLOC had business had proved to be extremely successful as income from the hire been fortunate in that there had been no serious accidents involving of sets and costumes had increased significantly. Over the year a focus either audience members or those in the productions. Given a growing on developing some new marketing initiatives had seen some telephone awareness of this area of workplace relations, the committee recognised campaigns, a second mail out and the introduction of production launches that CLOC now had to develop appropriate policies and procedures to – a concept resulting from planning and strategy sessions. The first launch cover ‘all areas that impact on the safety of our members and customers.’ had been held at the Moorabbin Arts Centre and attracted over a The last years of the 1990s decade were dominated by five spectacular hundred guests. Over two hundred guests attended the second launch productions, Singin’ in the Rain, A Chorus Line, Crazy for You, Company at the Music Theatre at the Monash Performing Arts precinct. and the fundraising concert Gotta Sing! Gotta Dance! Singin’ in the Rain A survey of customers had revealed the importance of show selection - was directed by Alan Burrows, with musical direction by Sue Porter always an on-going challenge for any music theatre production company and choreography by Susan Lewis. Once again, CLOC had assembled especially one committed to mounting two large scale productions a stellar cast and production team that included Jonathon Sebastian each year. (Don Lockwood), Carolyn Bruce (Kathy Seldon), David Muscat (Cosmo Andrew Lloyd Webber’s Song and Dance was the next production Brown), Elizabeth Dark (Lina Lamont), Liz Smallridge (Production after City of Angels and was budgeted conservatively at sixty-five per Manager and Ticket Sales), Sandra Davies (Stage Manager), Grant Alley cent houses with expenditure to be under $100,000 (the first show since (Technical Director and Set Construction), Sue Ferriman (Costume Funny Girl in 1993 to have a budget of less than $100,000). Despite slow Design) and a host of other volunteer workers, friends and supporters ticket sales Song and Dance made a small profit and was deemed a great of the company. Not surprisingly, Singin’ in the Rain played to packed artistic success. The mounting of this unusual show had been a major houses and made a substantial profit, as did A Chorus Line which recorded achievement for the company. Not only was the production a first for ticket sales of eighty-five per cent making 1998 one of the most successful non-professional theatre in Australia, to have been able to secure the years in the company’s history. rights to a show not generally available to those in the non-professional Three productions in 1999 saw the staging of musicals Crazy for You and sector represented a major endorsement of what was now widely Company as well as a concert to raise funds for the building project. recognised as CLOC’s highly professional approach to every aspect of The year’s first production ‘Gotta Sing! Gotta Dance!’ was organised by music theatre production. Sandra Davies and performed twice in Monash University’s Robert Chess, the second production, was a show with what was described by Blackwood Hall. An overwhelmingly supportive response from former Grant as ‘a poor performance reputation and track record but with CLOC principals and ensemble and many company supporters helped enormous potential.’ Following the failure of the professional version to make the concert a success. This public acknowledgement of the earlier in the year, the committee had given very careful consideration company’s achievements was highlighted by the contribution of singer as to whether to proceed, especially as Jekyll and Hyde had also been Suzanne Johnston, who had made her debut with CLOC in the 1976 unable to attract an audience in Melbourne. In the event, Chess achieved production of White Horse Inn. creditable ticket sales of sixty-four per cent (as against a budgeted seventy Second production in 1999 was Crazy for You directed by Malcolm Sanders per cent), a tribute to the ingenuity and determination of the marketing with musical direction by Michael Loughlin and dance direction by popular tapping dynamo James Rooney. It soon emerged that the challenges of this 24 CLOC MUSICAL THEATRE 1964-2014

large and complex production During 2000, CLOC had continued its program of providing training and were exacerbated by the decision education as a major provider of accredited training in theatre technology to use a new production team for universities, TAFE colleges and secondary schools. At no cost to the coupled with competition from community, CLOC personnel again supervised and assessed students in the concert for limited resources. the practical placement modules for a range of undergraduate Despite only seventy-three per qualifications at various TAFE colleges and for work experience students cent ticket sales, Crazy for You from secondary institutions. returned a good profit, having In the Year of the Volunteer, President Grant Alley paid special tribute been a high class production to the increasing numbers of skilled volunteers who worked backstage with wonderful sets, music, for CLOC in costumes, electrics, props, audio, dressing, make-up and so choreography and dancing. on. Their expertise had contributed enormously to the very high levels Stephen Sondheim’s Company was of professionalism that, by the end of the 1990s, were a hallmark of the the second show, and while ticket company’s productions. Grant also pointed to the work of Sandra Davies sales only reached fifty-four per and Liz Smallridge who, with other committee members, had developed cent and resulted in a loss for a new publicity package and detailed marketing procedures that included CLOC, the production received a improvements to telemarketing and the placing of billboards at large number of Guild nominations prominent locations. A customer survey, the establishment of a website with awards won for music (Sue and emails and information from what was now a very extensive database Porter and Andrew Leach), acting had also provided a sound base from which to further develop future (Andrew Dark), supporting actress marketing campaigns. (Pam Christie) and a judge’s award During the year the new facility at Kingston was completed. The building, going to Shannon Woollard. a steel construction clad in colorbond and built on a concrete slab had The year’s three productions had occurred against a background of been designed to enable the assembly of sets prior to moving to the continuing efforts to secure a permanent site for set construction theatre. Although applications for funding had not been successful, CLOC and storage and further work in advancing CLOC’s personnel and had proceeded with the project. Through careful show selection, cost administrative areas. Despite not achieving the set goals in terms of control, donations and a huge amount of hard work and determination income, the year saw a ‘reasonable profit’ – though this had been on the part of many loyal supporters the project the company’s long held achieved at some cost given the additional demands made on the dream of securing its own premises had become a reality. This incredible company’s resources. Nonetheless, negotiations with the Uniting Church achievement, a first for any non-professional music theatre company in in relation to leasing a property on the corner of Old Dandenong Road Melbourne, can be attributed, in large part, to the work of Grant Alley and Kingston Roads had been finalised and a twenty year contract signed. and stands as a tribute to his personal drive, expertise and determination. This contract would enable the company to erect its own purpose-built Auditions for West Side Story, the first show in 2001 had attracted large facility for construction and storage of sets, cloths, costumes and so on. numbers including thirty-five males at the dance audition. With a budget To finance this ambitious project CLOC had been saving and accumulated of $128,000, based on eighty-nine per cent houses, the committee was almost $70,000 of the minimum $100,000 needed for the first stage optimistic that the production would prove to be another audience of building. favourite. Such optimism was well-founded. Ticket sales of almost ninety- After thirty-five years in business, most of the original management eight per cent brought in a profit of $20,000 and numerous accolades had been awarded Life Membership, along with a distinguished group complimenting the company on the brilliance of the set, costumes, music, of individuals considered to have made significant contributions to the dancing and overall production values. company’s successful growth and development from choral society Once again the creative and technical brilliance of director Chris to leading music theatre production entity. A history of balancing Bradtke, combined with the talents of musical director Michael Loughlin, conservatism with an entrepreneurial outlook, continuity of management, choreographer James Rooney and a hugely experienced and professional tempered with the introduction of members with new and fresh ideas production team had combined to make CLOC’s West Side Story an and a prudent approach to financial resources continued to provide unforgettable theatrical experience. For this ground-breaking first security for what had become a vibrant community based arts provider. Since the commencement of formal relationships with educational institutions in 1995 nearly fifty students had participated in the program, some of whom had moved on to work in professional theatre. More than thirty-five people had also moved from CLOC productions into successful careers in the professional theatre – twelve of whom had returned to CLOC to share their knowledge and skills. John Wegner, who went on to become a principal soloist with the Australian Opera, considered that ‘the acting and performing skills that I learned during my time with CLOC were an invaluable start to a future professional career. It was the standard which we achieved during Fiddler on the Roof in 1977 which convinced me to pursue an operatic career.’ A vision of ‘sailors, sequins and showgirls’, Anything Goes proved to be another huge artistic and financial success in the tradition of 42nd Street and Singin’ in the Rain with eighty-four per cent of tickets sold and audiences loving the energy and excitement of this terrific show. A very talented and hardworking cast and production team led by director Chris Bradtke, ensured the success of the year’s second production, A Little Night Music, a delightful production distinguished by its original and highly creative set design. Guild awards for A Little Night Music went to Phillip Carmody for his outstanding musical direction and Pam Christie-Birkett for Best Supporting Actress. CLOC MUSICAL THEATRE 1964-2014 25

from the new CLOCworks production facility, a cast of thirty-nine was A Best Supporting Actor award went to Lee Threadgold for his brilliant supported by an orchestra of seventeen players, stage crew of twenty performance as Pooh Bah in Hot Mikado. and a spectacular, modernistic steel set. What had become one of the company’s key signature events, the annual Following on from the success of West Side Story, the second show was Production Launch was held at the Kingston Arts Centre in Moorabbin an ambitious, razzle-dazzle production of Chicago that became a huge hit in early 2003. So popular had these launches become that over- after opening night. The marketing team had achieved excellent media subscriptions meant that at the last moment the Launch had to be split coverage and that coupled with word of mouth resulted in very good into two presentations giving an enthusiastic audience a taste of the year’s ticket sales (with many nights sold out) and a profit of almost $10,000. productions Gigi and Pippin. 2001 had been another busy and successful year. The company was Directed by Chris Bradtke with musical direction by Ben Hudson already seeing the results of its investment in the facility at Kingston – and choreography by James Rooney Gigi stunned audiences with its now known as CLOCworks - in terms of enhanced production values extraordinary set, a wondrous, vibrant evocation of Paris at the turn of and a new level of professionalism. the last century created by designers Brenton Staples and Les Cook. Work on the fit out of CLOCworks had continued during 2002, a Especially crucial to the smooth running of this show, with its revolve and year which also saw the production of two very successful shows, Hot complicated scene changes, was the efficiency of the backstage crew so Mikado and My One and Only. A membership benefits scheme had been expertly managed by Sandra Davies. Gigi’s magnificent set was further implemented, Front of House processes streamlined and improved enhanced and brought to life with Nancy Pizzi’s stunning costumes. In and the financial position consolidated with the fifth consecutive year producing her wonderful costumes, Nancy had been supported by Liz of positive growth to the balance sheet. At CLOCworks an amenities Smallridge, Nancy Matthews, Allan Paul and a team of eight very hard block was completed and timber racks constructed. Plans were working and talented costumes assistants. underway for a mezzanine, paint room, shelving, external lighting and the Although a reasonably well known film, the committee had been installation of access control and security systems. Rehearsal weekends somewhat concerned that the stage show of Gigi was relatively unknown were now held on the set at CLOCworks, and this had resulted in and had therefore budgeted for a small profit based on seventy-five per significant improvements with respect to the preparedness and quality cent houses. In the event a great marketing effort, word of mouth and of productions. In addition, the hiring of costumes, sets and properties Gigi’s special appeal to CLOC’s preferential patrons resulted in ninety-two had been expanded to include cloths which could be viewed on the per cent ticket sales and a profit of almost $28,000, the largest ever made website; while a new source of revenue had emerged with the hiring of on a production. At Guild night Gigi carried off awards in the categories: CLOCworks to professional companies for set building and rehearsals. Best Setting (Brenton Staples and Les Cook), Best Wardrobe (Nancy Hot Mikado had been budgeted conservatively at sixty-five per cent Pizzi); Technical Achievement; Best Female Performer in a Supporting houses and with careful cost control the season resulted in a respectable Role (Patricia McCracken). profit. Directed by Matt Mullins, musical direction was by Martin The committee had selected Pippin to follow Gigi and the combined Macaulay, choreography by Wendy Belli, lighting Stelios Karagiannis, enthusiasm of Tamara Finch and Andrew Leach brought a new energy costumes Felicity Hardy, sets Marck Setford and audio Alan Green, while to the show with Tamara’s innovative direction and choreography and the stellar cast featured the talents of Chris Hughes (Nanki Poo), Lee Andrew’s hugely accomplished musical direction. Marck Setford’s set Threadgold (Pooh-Bah), Brigid De Neefe (Katisha) and Michelle Buscemi provided a magnificent backdrop with a raked stage, gantries, ladders, (Yum-Yum). spiral staircases and a semicircular thrust that brought the action right Following Hot Mikado, the second production for 2002, the Gershwin to the front row. The costumes, designed by Marck Setford and Nancy classic, My One and Only again confirmed CLOC’s position as Melbourne’s Matthews, were attention grabbing and creative, and once again the leading producer of top quality music theatre. No-one who saw the costume team led by Liz Smallridge proved their worth as a hardworking show could forget the spectacle of on-stage black and white grand pianos and skilled team. with Adeline Han and Gregory Smith in black and white evening clothes With Tamara’s inventive and stimulating approach to the production playing George Gershwin’s beautiful Rhapsody in Blue - or Barry Pearce’s coupled with a very talented and energetic cast, who worked extremely magnificent award winning set. My One and Only was a testament not hard right through the season, the end result was another award winning only to the enduring popularity of the brothers Gershwin, but to CLOC’s production. There had been much discussion about Pippin and whether ability to mount a full scale, all singing, all dancing, extravaganza that would it would suit the demographics of CLOC’s audience but Tamara gave stand up favourably against virtually any professional production. In his Pippin a new life with a new ending for Act 1 and Act 2, new dialogue President’s message printed in the program, Grant described just how and a dramatic intent never before seen for this show. These were major much was involved in staging two productions a year and what had been contributors to its success at the Guild awards where the show won achieved in the previous couple of years: Best Production; Best Direction and Choreography (Tamara Finch), What you see on stage this evening is the result of more than a year of Technical Achievement; Best Lighting (Martin Karklins) and the Dancer’s planning and months of rehearsing, set building and painting, sewing, Award (Luke Taylor). Interestingly, Stephen Schwartz himself approved all co-ordination, administration and committee meetings – an incredible amount the changes made by Tamara and was very keen to know how it had of work by a very dedicated team of volunteers. For every person you see all worked. on stage, there will be a team of workers – backstage technicians, make-up Pippin had been a challenging piece for both CLOC and the production artists, dressers, stage manager, lighting and audio, orchestra, ushers, program team, proving to be an artistic success. Despite not making a profit, as sellers, box office and so on. Since the completion of CLOCworks, Grant later recalled, ‘it’s fair to say that it was a financial success as it came our multi-purpose facility at Kingston, you will have no doubt noticed in over budget.’ Once again the committee adopted a conservative significant developments in the scale, professionalism and production values approach, basing the Pippin budget on sixty-five per cent houses and of our shows. The new building has made this possible and represents a major budgeting for a loss of $10,000. In the end houses were an overall sixty-six turning point in our mission to provide you with a great night in the theatre at per cent and the loss around $9,000. an affordable price. Apart from its productions CLOC had also turned its attention to further 2002 ended on a high note with a total of twenty-three Guild nominations development of what had become a very successful hire business that – the most CLOC or any other company had ever received at that time. now covered costumes, props, cloths, sets and CLOCworks and had My One and Only won in the categories Best Setting (Barry Pearce), returned $34,000 in 2003. In the ten years since Allan Paul took over the Technical Achievement (CLOC), with special awards to Adeline Han and management of this part of the company’s business, revenue had grown Greg Smith for their outstanding renditions of Rhapsody in Blue. 26 CLOC MUSICAL THEATRE 1964-2014

steadily – as had CLOC’s reputation for providing a high quality product and outstanding customer service. The beginning of 2003 had also seen CLOC’s participation in the annual Bayside Fiesta. Held on the foreshore at Sandringham, this event had become both a valuable marketing exercise and an excellent public relations activity with the Bayside Council. Once again items from the year’s productions were performed and the marketing team put together a static display of photographs, posters, set models, costumes and information about the company. At the same time, the set hiring business had brought in significant revenue from the hire of the West Side Story set, while the progressive photographing and cataloguing of cloths and advertising them on the website had also resulted in improved revenue for this aspect of CLOC’s business. By the end of 2003 the company was in a strong financial position following six years of consistent growth during which only three of the twelve productions had not made a profit and four had made more than $20,000. In looking to the future, Grant declared that the company needed to continue ‘its focus on rebuilding cash reserves while ensuring that the shows selected would not only appeal to CLOC’s customer base, but also provide challenges to casts and production teams.’ At the same time, however, it was imperative that having completed the construction and most of the fit-out of CLOCworks, the committee ‘must be extremely vigilant to not become over confident and in particular self-indulgent, especially when it comes to show selection.’ The 1990s had seen the company begin to focus on enhancing the professionalism of the management team, particularly with respect to the delivery of new marketing strategies, the expansion of the hire business and the introduction of computerised systems for ticketing, audition bookings, volunteering and so on. In particular the mid-1990s had seen the inception of a new business model that would underpin a significant process of change. Although artistically successful and reasonably stable financially, it was recognised that CLOC had reached turning-point with respect to its future. Faced with ‘a large list of weaknesses and threats’ the committee’s strategy weekends culminated in the development of a strategic plan aimed at securing the company’s future. One immediate outcome was the adoption of a more customer-focused approach to show selection and tighter budgeting aimed at producing the funds required to finance future plans, especially with respect to the securing of permanent premises for construction, storage and rehearsals. In addition, management and membership structures were updated and a new constitution agreed to. The overall result of these efforts was a substantial improvement to the quality of productions which, by 2003 were widely recognised as being of a consistently high standard, more effective use of available resources, a strong costume team and very professional marketing and communications. In looking to the future, Grant reiterated his view that, ‘we need to focus totally on our customer’s needs and continue to improve our marketing to them. CLOC only exists as long as we can not only produce a high quality product, but also one that our customers want, and that we are able to market to them.’ More specifically, he identified the impending loss of the rehearsal and storage facilities at Brewer Road as one of the major challenges ahead. Indeed, as the company moved into its fifth decade of operation, the need to find a permanent home to replace Brewer Road would emerge as a key challenge for management. CLOC MUSICAL THEATRE 1964-2014 27

Chapter Five BOLD AND SUCCESSFUL 2004-2014 Having taken the decision to do only one production in 2004, the one of amateur theatre’s most celebrated and highly awarded directors, yet company made excellent use of the time, celebrating its fortieth theatre has always been just a hobby. ‘I’ve done a lot of big shows and first anniversary, staging Mack and Mabel the year’s major ‘all singing, all productions and as far as I’m concerned that’s the big plus,’ he says as he pulls dancing’ production and generally making significant advances from an together CLOC Musical Theatre’s eagerly awaited Jekyll and Hyde, a show that organisational, administrative and marketing point of view. In particular, the has never made it to the professional stage in Australia. ‘Had I been in that year was characterised by a renewed focus on the contribution made by incredibly small pool of professional directors I’m not sure I would have had this CLOC’s team of dedicated volunteers, many of whom attended a series freedom and fortune. A production such as Jekyll and Hyde is not easy to mount of informative presentations aimed at increasing their understanding of the and it’s a bit of a risk, though it’s a wonderful piece, it’s very serious. It’s not going workings of the company. Presentation of certificates and commemorative to attract the general public, who just want a happy time in the theatre. This is glasses and invitations to the annual Christmas party also contributed to where amateur theatre has the edge because we know we can follow this up the recognition of the enormous contribution made by CLOC’s many with a safe production. volunteers; while what was now a very successful membership program Jekyll and Hyde was a show where, as Grant recalled ‘the crew had to be continued to attract active support from a range of sponsors. as well-rehearsed and choreographed as the cast and they made the set To celebrate the fortieth anniversary, the committee decided to hold a gracefully dance in front of the audience, who left the theatre singing the dinner at the Bentleigh Club. This gala night took place on 10 July 2004 and praises of the production, even if they didn’t like the show.’ In reviewing the was expertly organised by Sandra Davies, Grant Alley and Janet Cameron. show for 3MBS Fine Music, Julie Houghton described CLOC’s production as: A three course dinner was interspersed with a very lively commentary one of the most wonderful and powerful experiences you will have in a theatre about the company’s history supported by musical items from various this year. The drama of the production simply sweeps you back into nineteenth individuals who had performed in shows. Scripted and directed by the century London. The sets are fabulous, costuming a dream to look at, and talented and versatile Alan Burrows, with CLOC legend Horrie Leek as praise be the orchestra is simply marvellous under the direction of Ben Hudson. Master of Ceremonies the event was attended by almost one hundred Direction by Chris Bradtke is masterful and pacy. and forty of CLOC’s significant members, including some individuals whose The second production of the year was Kander and Ebb’s spirited, toe involvement stretched right back to the early days of 1964. tapping Steel Pier. Once again CLOC’s highly professional production turned Since there had been no production in the first half of 2004, the company out to be an energetic dancing sensation in which the very talented cast had been able to achieve some significant advances in terms of work enthralled audiences with a marathon of dance and song, culminating in undertaken at CLOCworks. A fast-growing hedge had been planted a spectacular number that paid tribute to the iconic Flying Down to Rio along the west wall, lighting installations completed, a metal work bench sequence from the 1934 film of the same name. In its article, ‘Winging it With constructed, the workshop floor sealed, additional racks to house hire stock Aplomb’, the Bayside Leader said that: and cloths built and tool cupboards fitted out. Dancing on the wings of a plane is hardly an advisable pastime but that doesn’t As always, Alan Burrows brought a new vitality to his production of Mack seem to have fazed Sandringham performer Courtney Davies. She is one of and Mabel, which featured choreography by Susan Lewis and musical five Bayside residents who are about to tap dance their way into the hearts of direction by Ben Hudson. Budgeted to break even at seventy-six per cent, audiences when the CLOC Musical Theatre’s latest production comes to town. ticket sales for Mack and Mabel did not come in as expected and the show Steel Pier is set around a dance competition in Atlantic City in the 1930s. Davies made a disappointing loss of $6,000 – which was no reflection on the said it was the first time the musical had been produced in Australia. ‘It’s great to quality of the production or the excellence of the marketing material and lead the way in presenting a new and exciting musical that will have audiences media coverage, but more attributable to the impact of various external tapping their feet and humming the tunes as they leave the theatre’, Davies said. events such as the federal election. The committee also discussed the falling Although the committee had budgeted Steel Pier to make a small profit, sales of programs which had not been covering costs and decided to raise strong bookings from preferential customers and a very well managed the price from $7 to $8 while recognising that increasing overall sales would marketing campaign saw ticket sales achieve an impressive eighty-one per be quite a challenge. cent and a profit of more than $13,000. Overall, CLOC’s two productions A huge success artistically, Mack and Mabel was the first show in over for the year received twenty-five Guild nominations and six awards, including eight years to lose money – an outcome that provided an impetus to the the Dancer’s Award for what was acknowledged as Steel Pier’s outstanding President and committee to focus on developing strategies for building dancing ensemble. CLOC’s liquid assets, better manage the income-producing non-show 2005 also proved to be an excellent year for what was, by now, a very activities and ensure that future productions returned a profit. successful hire business. Capably managed by Allan Paul, the hiring of CLOC began 2005 with some mixed feelings about selection of the year’s costumes, props, back cloths, sets and CLOCworks had generated an two productions. The first, Jekyll and Hyde, had failed on two separate income in excess of $43,000, with the West Side Story set hired out twice. occasions to get up as a professional production in Australia. Further, it Moreover, as this set had now been hired out four times in Victoria, was considered by some to be ‘a very dark show’ and somewhat flawed negotiations to sell it to an interstate company were now underway. as a musical. Steel Pier, the second show was totally unknown to Australian Over the year the committee had continued to review the operation of audiences. Never having been performed either professionally or non- the company, implementing changes to further develop the professionalism professionally, Steel Pier had run for only seventy-six performances on and effectiveness of marketing and publicity. Cameron Osborne was Broadway (despite receiving eleven Tony nominations) and contained no appointed to manage CLOC’s marketing and with Sandra’s support well-known songs. Nonetheless, the prospects of staging these two musicals introduced a number of new initiatives aimed at building the company’s represented an exciting outlook for CLOC. To generate interest in the brand as a leading non-professional producer of music theatre. The year shows, a very successful production launch was held in March. The event had also seen the implementation of some major changes with respect to was booked out and created considerable interest in both shows. ticket sales. Numbers for group bookings were reduced from twenty to Directed by Chris Bradtke, with musical direction by Ben Hudson, Jekyll and fifteen, ticket sales for the next show opened from the end of the previous Hyde featured Nancy Matthews’ strikingly authentic period costumes, an production; credit card payments were available for mail bookings; a voice exciting set designed by Brenton Staples and a very talented cast of twenty- mailbox and a 1300 number were introduced along with a post office box. two. Budgeted to make a small profit at seventy-five per cent houses, With increasing use of the internet and online purchases, ticket sales could excellent publicity and very positive word of mouth regarding the high now move from being processed by a ticket secretary to a more flexible standard of the production resulted in sales of seventy-seven per cent and electronically-based system. a significant number of new audience members. Indeed, as evidenced by a During 2005, the Uniting Church announced that the property in Brewer feature in the Herald Sun, CLOC’s marketing team had been successful in Road would be sold in early 2006. After more than twenty-five years at this promoting Jekyll and Hyde to the mainstream media where interest in the location CLOC now needed to find a new site for rehearsals and storage. show had resulted in a profile of Chris Bradtke who was described as: 28 CLOC MUSICAL THEATRE 1964-2014

An exhaustive search of hundreds of possibilities finally resulted in a move to On the administrative side of the company’s business, the committee had the Baptist Community Church in Hampton. developed new policies covering privacy, infants in the theatre, harassment Larger properties and furniture were moved to the facility at McKinnon and occupational health and safety – all of which were published on the while a second-hand school building would be installed at CLOCworks website, along with online forms for paying membership subscriptions and which, once refurbished, would house the costume store and a purpose- show fees by credit card. In conducting a review of processes for banking, built area for costume production. As part of the agreement with the investment strategies and payment of accounts, on the recommendation Uniting Church for use of this additional property, CLOC proposed to of Barry Venning the committee decided to move its finances from the landscape the remainder of the property with lawn areas, bushland areas Commonwealth Bank to Westpac which offered higher interest returns and a barbecue and relaxation area for joint use by the Church and on funds, lower credit card processing fees, online capabilities for managing company members. the increasing number of credit card transactions and the ability to make The impact of this sudden and unexpected move from Brewer Road secure payments over the internet. In describing these developments, Barry was to have some far reaching consequences in that it served to highlight the remembered that: need to secure the company’s future with respect to ownership of land and At this time we were focused on our strategy for securing CLOC’s future. assets. In summing up the effects of the church’s decision to sell what had To spread the committee’s work load we decided to consolidate contractual, been CLOC’s rehearsal facility secretary Barry Venning observed that: insurance and some of the policy management into the role of the Secretary. After what happened at Brewer Road we relocated and developed new Following this, we completed a lot of work aimed at protecting our tenure at premises but this just highlighted our vulnerability regarding the investment we all our locations. Along with the existing twenty year contract for CLOCworks had made with CLOCworks and the leased land at Heatherton. We don’t own - which at that stage we were about seven years into - and the three year the land and therefore need to be in a position to purchase it – or equivalent – contract with Monash (that we were one year into), we signed a ten year should the need arise. What this means in practice is that when our lease with contract with the Hampton Baptist Church for rehearsal facilities and the Uniting Church comes up for renewal the funds available in what I have props storage. called the Project 2020 Fund need to be sufficient to cover, financially, whatever Having selected Shout! The Legend of the Wild One and Blood Brothers as the company decides to do. the shows for 2007, a highlight of the year’s production launch was the The committee had selected The Scarlet Pimpernel as the first show attendance by John-Michael Howson. One of the co-writers of Shout!, for 2006. Although ticket sales were lower than expected, the John-Michael enthralled the audience at the launch with some fascinating production was highly praised for its wonderful production values, stylish insights into the career and personality of Johnny O’Keefe and the writing of direction by Chris Bradtke and very talented cast; while the Melbourne this very successful Australian musical. Observer described CLOC as ‘one of Victoria’s premier non-professional Directed and choreographed by Craig Wiltshire with musical direction theatre companies, with shows readily comparable to many seen in by Bev Woodford, Shout! was a high energy production that transported professional theatre.’ its wildly enthusiastic audiences back to an era of rock and roll, and the Work on the year’s second production, Me and My Girl was underway life of one of the music industry’s most iconic figures. An exceptionally when, in mid-March the committee learned that Andrew Lloyd Webber’s talented cast featuring Chris Hughes as O’Keefe, Jodie Symes as Marianne Cats was about to be released and that the relevant agents (Origin and Renate, Fernando Testa as Lee Gordon, Marissa Tunks as Thelma O’Keefe The Really Useful Group) had requested that written submissions be and Robert Harsley as Ray O’Keefe, was brilliantly supported by a further submitted for their consideration. In lodging a request to stage the Victorian twenty-seven cast members and a production team which worked tirelessly premiere non-professional production of Cats, the committee soon learned behind the scenes to produce an unforgettable show. that CLOC had actually been selected to mount the show’s Australasian Not only was Shout! a huge artistic success, the production also returned premiere. Such an accolade from one of the world’s leading music the company’s second largest profit to date, its thirteen performances theatre organizations represented a public acknowledgement of just how (including an additional Sunday matinee), resulting in an overall house professional the company had become. of ninety per cent. Victorian Drama League reviewer, Phyll Freeman With a comparatively short lead-time to opening night, Cats proved to was effusive in her praise for this outstanding achievement which also be a massive undertaking and the company was under close scrutiny not represented, the first Australian musical produced by CLOC: only from Origin and The Really Useful Group but also the whole theatre Wow! For aficionados, this is rock ‘n’ roll heaven on a stick? CLOC has done it industry in Australia and New Zealand. Initially it was decided to increase again and it’s great to see a home-grown show based on one of our own music the number of performances to fourteen and budget conservatively for a icons given such a wonderfully produced, directed and acted musical journey. I modest profit based on seventy-five per cent houses. However, prior to the was not a devotee of Johnny O’Keefe and never expected to see myself as was official opening of ticket sales, public interest in Cats was such it was decided everybody else in the theatre, on my feet clapping and cheering at the end. Not to move to sixteen performances while keeping within the specified budget. The result was the largest audience attendance in the company’s history, a profit almost double anything ever achieved before and a spectacular production glowingly described in the Melbourne Observer as ‘a top show presented in true professional style’ and CLOC as the ‘purr-fect’ company to stage this Australasian non-professional premiere of Cats.’ Directed by Lee Threadgold, with musical direction by Martin Macaulay and choreography by Tamara Finch, CLOC’s production of the much-loved Cats was both visually stunning and totally professional. The twenty page, full colour program featured numerous images of the cast in their amazing cat costumes and make-up and some awe-inspiring action shots taken on the set. In staging The Scarlet Pimpernel and Cats in 2006, CLOC had once again achieved new levels of excellence in music theatre production. In addition to the move from Brewer Road much energy had also been expended by Allan Paul and committee member Carol Humphrey on establishing a computerised inventory and hire management system for a costume stock that was now conservatively valued at $120,000. The West Side Story set had been sold for $10,000 to a music theatre company on the Gold Coast and the Cats set to a company in Wellington, New Zealand. CLOC MUSICAL THEATRE 1964-2014 29

only were we paying homage to our youth but also to the con¬stant dynamism into a purpose-built rehearsal venue. popular audience- of the cast for over two hours. pleaser Hot Shoe In selecting Blood Brothers as the year’s second production, the Shuffle. Although committee had taken the bold step of moving away from all singing, the committee had all dancing shows to present the powerful and dramatic story of been looking forward twins who grow up in completely different circumstances after to just concentrating being separated at birth. on managing the Directed by Shaun Kingma with musical direction by Martin company and Macaulay, Blood Brothers received numerous accolades from both mounting these two the industry and audiences, with John-Michael Howson describing productions, CLOC the production as ‘excellent and professional’. A former manager was again faced with of London’s Phoenix Theatre where the show was still running the additional challenge described CLOC’s production as being ‘on many levels superior and workload associated to that professional production’ – a view endorsed by an with the work needed to audience member who wrote that: ‘This production outshone upgrade the run-down what I had seen on the West End with its beautiful direction and Guide Hall in Dane Road staging and by the electric energy given by one of the strongest casts I have seen in Melbourne for a long time.’ For CLOC, 2008 had begun with CLOC providing the entertainment for Kingston’s Blood Brothers was also a financial success with ticket sales of Australia Day breakfast with numbers from The Boy from Oz being very seventy-seven per cent returning a very good profit from its enthusiastically received by everyone present. The event was made even twelve performances. more special when the company was honoured by being named City of Shout! received eight Guild nominations and Blood Brothers Kingston’s Community Organisation of the Year. six, with Pam Christie Birkett winning Best Supporting Actress for her spine-tingling portrayal of the twins’ mother, Unsurprisingly, The Boy from Oz proved hugely popular with audiences Mrs Lyons. Other accolades conferred by the theatrical with almost every seat sold and a profit of $56,000. As Grant described community included the Theatre People Choice Awards, in the response to the show, ‘in the week bookings opened our phones went which Shout! received five nominations and three awards into meltdown with the response breaking all our records for pre-sales’. and Blood Brothers being nominated for nine awards and Mounted on a huge scale, The Boy from Oz had a large cast, backstage winning four including Production, Direction, Best Actor crew and front of house team. Jon Sebastian’s brilliant portrayal of Peter and Best Actress. In addition, the aussietheatre.com Allen was a huge and exhausting responsibility – one that this very talented website, in its 2007 awards, (voted by its Australia-wide followers) selected performer carried out with his trademark style and professionalism. Blood Brothers as Australia’s Best Amateur Production of the Year. Audiences loved the high voltage production numbers and the intricate, Another highlight of the year had been the introduction of a number of technically brilliant set designed by Brenton Staples. new members to the production team further strengthening what was already a group of extraordinarily talented individuals. Directors Craig The warm glow emanating from the success of The Boy from Oz continued Wiltshire and Shaun Kingma were veteran performers from many CLOC to have an impact as ticket sales opened for the production of Hot Shoe shows and not surprisingly made a seamless transition to the task of Shuffle, David Atkins’ hugely successful homage to the days of vaudeville. directing – and in the case of Craig choreographing as well. The committee Directed by Craig Wiltshire with choreography by Susan Lewis, Hot Shoe was also pleased to finally secure the services of Bev Woodford whose Shuffle was a tapping extravaganza for its small but very talented cast of brilliant musical direction of Shout made a significant contribution to the nine - eight of whom were male. The season played to almost full houses, show’s success. Over the year CLOC had also focused on strengthening returning a profit of $55,000. two very important personal connections, both of which were with individuals who had become integral to the company’s development and This high energy production of old fashioned fun, great songs and dynamic profile. In building a relationship with John-Michael Howson, CLOC had dance routines was accompanied by Bev Woodford’s band of fifteen received considerable support in terms of production advice for the musicians and included such memorable numbers as Ain’t Misbehavin’, staging of Shout! Shall We Dance, Puttin on the Ritz, Little Brown Jug and I’ve Got a Girl in The second relationship, which had developed during 2007, was with Kalamazoo. On stage Barry Pearce’s brilliantly colourful cartoon/comic strip Kingston Council member Greg Alabaster. Greg had been attending settings, Jason Bovaird’s imaginative lighting featuring spots coming in from productions for some time and in 2007 had begun to take a particular many different angles and Vicky Horne’s glamorous costumes all made for a interest in CLOC as a Kingston-based community group. He brought fellow production that left audiences gasping and calling for more. councillors and senior administrators to productions, organized publicity in the Kingston newsletter and the placing of marketing material in libraries. The year’s two productions were nominated for Guild awards – nine for Moreover, Greg had provided assistance in getting building approvals, The Boy from Oz and eight for Hot Shoe Shuffle. The Boy from Oz winners found a site within Kingston which would prove ideally suited to CLOC’s were Bree Truscott (Best Support Actress) and Heath Harney (Judges requirements for a permanent rehearsal venue and subsequently carried out all the negotiations to secure the property for CLOC. In the twelve years since the strategic planning weekends and the development of clear long-term financial and organisational goals much had been achieved by the company’s very committed and hard-working members. In 1992, CLOC had been in what Grant described as ‘a reasonable position financially, however it was static and not providing any growth for the future.’ As evidenced by the events of the intervening years, the implementation of a long-term plan was to have a profound impact on the company’s entire operation, especially with respect to its ability to fund the construction and fit-out of CLOCworks and other key capital projects. The huge successes of the previous couple of years continued in 2008 with productions of the hugely popular The Boy from Oz, followed by the equally 30 CLOC MUSICAL THEATRE 1964-2014

Award) with Hot Shoe Shuffle winners being Susan Lewis for her wonderful proposal a sub-committee was appointed to develop further strategies choreography and a dancer’s award going to tapping dynamo James Rooney. aimed at securing bequests and government grants and tax deductibility 2008 had also seen music theatre icon, John-Michael Howson, installed as status for donations. CLOC’s first ever Patron. Vastly experienced in all forms of show business, In focusing on the question of how best to secure the long-term future with an unrivalled knowledge of the entertainment industry, the formalizing of the company, the committee had also been faced with issues relating of what had become a close relationship with CLOC marked another to the hire of the Alexander Theatre and the consequences of various important milestone in the company’s development. pressures being exerted by the university. Specifically, in early 2009 CLOC Having never lost sight of the importance of maintaining its growing was notified that their future hire of the Alexander Theatre would be database and providing high levels of service, CLOC now had almost ten conditional on Monash selling all tickets, a service for which CLOC would thousand customers and a very efficient ticketing system managed by Carol incur significant costs. Given the company’s long history of independence, Humphrey and Cheryle Osborne. Where 2008 had seen many other resilience and strong vision for its future, the committee unanimously companies struggling to manage the financial consequences of poor ticket agreed that CLOC would not surrender its ticketing to Monash. This sales, CLOC’s two shows had been virtually sold out – a reflection of the decision was taken on the grounds that: excellent personal service provided to a host of returning customers, the • Monash selling CLOC’s tickets would give them direct access to the high quality ‘value for money’ productions and a very professional marketing strategy that highlighted the strength of the CLOC brand. To support these company’s customers for cross promotion and would result in a loss of ticketing operations, 2008 had seen a redevelopment of the booking system ownership of the customer data. which was now managed online in a virtual ticket office. • Monash ticketing only operated between 10.00am and 6.00pm Monday Sadly, the year had seen the passing of three people who had been, in the to Friday, which were not the times CLOC’s customers made their words of Grant, ‘special friends to CLOC.’ The first was Rob Constable who bookings. lost a long battle with cancer. Rob had performed in three productions • Monash would not allow groups and organisations to reserve large dating back to 1987, was a Guild Judge for a number of years and a well- blocks of seats and pay a couple of months later. known personality in the Melbourne musical theatre scene. The second • The cost to CLOC of Monash ticketing would be approximately person to pass away was Vic Proposch who died at the age of ninety-two. $6.50 per ticket. As the original founder of CLOC, Vic had been a driving force in the • Monash would keep the ticket revenue until the end of the show company’s early growth and development, serving as President from 1965- significantly hampering CLOC’s cash flow and costing thousands of 1967, constructing sets and performing in ten shows. The third death was dollars in lost interest. long-serving member Neil Shilton who passed away unexpectedly during As a result of the committee’s courageous stand, legal advice regarding a knee operation. Neil had been CLOC’s secretary for many years, served potential breaches of the Trade Practices Act and Privacy Laws was on the committee, built a number of special props, occasionally played the obtained and communications outlining CLOC’s concerns were forwarded piano for rehearsals and performed in nineteen productions. to the Vice Chancellor. Then followed several fruitless meetings that For the second year in succession CLOC provided the entertainment produced no worthwhile result, other than to negotiate dates for Miss for Kingston’s annual Australia Day breakfast with excerpts from the Saigon and High Society. Once again Greg Alabaster provided very forthcoming production of Miss Saigon. In being given the opportunity constructive support, organising letters to the Vice Chancellor from two to mount a non-professional premiere of this block-buster musical, federal and two state politicians and the Mayor of Kingston. Despite the the company had approached the production with what Grant later matter being raised in state parliament there seemed to be no satisfactory remembered as ‘a great degree of excitement and considerable trepidation way to resolve the impasse. On 23 September 2009 Grant Alley and Barry due to its scale and complexity.’ Not only did Miss Saigon require Asian Venning met with Pro Vice Chancellor Rob Willis to provide extensive performers, the show also had a large cast, crew and orchestra, enormous, details of CLOC’s business model and ticketing operations as well as complex sets, a massive armory of weapons and a very large number of practical options to the Alexander Theatre’s proposal. In responding by props. As always, CLOC proved quite capable of rising to the challenges of email Rob Willis acknowledged that first the company needed to ‘retain its the ambitious undertaking. Sandra Davies’ advertising campaign in ethnic own booking service to best serve its clients and further, retain its database publications provided the necessary performers, while the efforts of a very to assist in this and protect CLOC against the vagaries of the market and dedicated and hard-working production team ensured Miss Saigon was a future available venues’, and secondly that, ‘Monash has to make more technical and artistic triumph. Indeed, so popular was the show that the money than the standard hire charge from CLOC for each booking to keep fifteen performances sold out before opening night, resulting in a record the Alexander Theatre afloat.’ His solution was ‘that CLOC pay Monash house of just over one hundred per cent and a profit of $47,000. a fee for each ticket provided for the performances.’ With this in mind, With the amazing response to Gigi in mind, the committee selected another CLOC then made a final offer to pay an additional fee, with no additional show in the same genre - the Cole Porter hit High Society. Although not service being provided, and which amounted to an extra $11,620 per annum a small undertaking, High Society was quite a contrast to Miss Saigon. This in revenue above the agreed theatre venue hire. The response was not a sophisticated high-brow romantic comedy proved extremely popular with positive one as Monash was unwilling to operate under the fee structure CLOC’s audience and a sell-out season returned a record profit of more suggested by CLOC. The committee now made a momentous decision. than $81,000. In comparing the two shows for 2009, Grant’s President’s After thirty-eight years of productions at the Alexander Theatre, future Notes in the High Society program recorded that: shows would be staged at the National Theatre in St Kilda. For those of you who sat in the audience for Miss Saigon you will remember The events of 2010 would mark another major milestone in CLOC’s a night of high drama, passionate performances and heart-wrenching emotion history. Beginning with the staging of Dusty at the National Theatre the in a production that broke records everywhere. Tonight you are in for a very year also saw the official opening on 21 February 2010 of CLOC Central, different treat – an evening of light-hearted humour and sophistication, the company’s splendid new flagship property in Dane Road Moorabbin romance and elegance, beautiful and well-known music, urbane and witty lyrics, and the landscaping of the CLOCWorks property, an undertaking which all brought to you by our usual first class production team, almost all of whom represented the completion of contractual obligations to the Heatherton worked on Miss Saigon. In this show there is no tragedy, no onstage death, Uniting Church. no emotional angst. Instead High Society is a frothy romantic comedy which After two years of negotiation, planning and rebuilding work CLOC revolves around one of life’s most joyous and celebratory events – a wedding. Central was opened by the company’s esteemed Patron, John-Michael At the July committee meeting Barry Venning tabled a presentation Howson. In attendance at this very important event were most of CLOC’s proposing a major fundraising and investment effort aimed at securing distinguished Life Members, representatives from the Kingston Council, sufficient funds to enable the company to purchase the CLOCworks land in state parliamentarians and a large contingent of cast, crew and friends 2020, the date at which the lease expired. Having accepted Barry’s of CLOC. CLOC MUSICAL THEATRE 1964-2014 31

Having been at the Alexander Theatre since 1971, the move to St Kilda was, Marketing had been a major focus for the company throughout 2010 with a as Grant unsurprisingly observed ‘a journey into the unknown and unfamiliar number of significant new initiatives implemented in order to retain as many that was approached with a certain amount of fear and trepidation.’ Fully of CLOC’s existing customers as possible, while also attracting new ones. aware of the new venue’s technical limitations, logistical challenges, parking The first new initiative was paid radio advertising on stations 3AW and issues, working with a different theatre management, front of house and Magic. John-Michael Howson was the talent used for the advertisements technical teams, CLOC approached the challenges of 2010 with the resolve, and in the week leading up to the shows received excellent coverage, professionalism and commitment for which it was now well-known. including a number of advertisements which involved tickets being given The move to the National entailed many months of meticulous research, away as prizes. The committee also had large posters printed for the four planning, documentation and communication that included the preparation main windows of the National Theatre which again provided excellent of detailed transport information, logistics, catering, marketing strategies coverage and a great impetus to ticket sales. Unlike at the Alexander for the new location and the building of a whole new customer base. Theatre, motorists were ringing the booking number displayed in the Not surprisingly, what could have been a problematic, obstacle course theatre windows in order to buy tickets as they drove past. For Man of was extremely well managed by Sandra whose experience and expertise La Mancha marketing also trialled sending a text message to every mobile ensured that the whole process ran smoothly. As Grant recalled, once in number on the patrons’ database. Given the low cost of each message this the theatre it became clear that from CLOC’s perspective: proved to be a very cost effective method of advertising which received many aspects of life for cast and crew had improved and concerns about such a good response from CLOC’s customers. A further initiative was the matters as parking were found to be generally not as bad as the committee purchase of two metre high pop up portable advertising banners for display had expected. From an audience point of view, the greater seating capacity in the theatre and at any other events involving the company. (783 compared with 500) meant what would have been a sold out season at CLOC’s ongoing commitment to its volunteers continued throughout the Alex before opening night was instead a situation where door sales could the year with a number of gifted individuals joining the team in much and did take place (including from people who walked or drove past the theatre needed areas such as backstage, sewing and set building and so on. and saw the signs without any prior knowledge of the show or CLOC) and During productions CLOC also had students from secondary schools and patrons could return to see the show again and bring family and friends. Swinburne University working backstage in many departments. Some of CLOC’s older patrons chose not to move to the National, During the year the company also carried out a number of other activities however ticket sales for Dusty revealed that a successful marketing campaign to improve its venues and provide better facilities for its growing number had managed to replace them with a new audience who lived closer to of volunteers and business activities. As a result of an approach from a the theatre. Indeed almost forty-five per cent of ticket sales for Dusty road building business a number of the driveways and the parking area at were from new customers. By the end of the Dusty season, a total of 6,816 CLOCworks were asphalted, significantly improving both the appearance tickets had been sold which was the equivalent of ninety-seven per cent and serviceability of these areas. The asphalt was donated and the laying at the Alexander Theatre. After attending the opening night John-Michael was done at a discounted rate. Howson expressed his warm congratulations: For the dedicated and hardworking sewing team, the purchase of eight to the wonderful producers, directors, cast, crew, designers and musicians for Janome sewing machines meant that they no longer had to bring their own a superb production of Dusty. The audience loved it and the buzz is terrific. machines from home. A second air conditioner was installed at CLOC Thank you so much for doing credit to our work and for being a wonderful, Central, as was a continuous boiling water system and additional shelving in talented and professional group. I’m sure Dusty herself was looking down on you the props shed. and singing along. With thanks and hugs, John-Michael Howson OAM, Melvyn CLOC’s thriving hire business continued to be a very important and Morrow, David Mitchell. essential source of income and in 2010 hire and sale of sets, props, back Directed by Chris White, choreography and co-direction were by Lynette cloths, costumes and venue hire raised a total of nearly $47,000. The White, and musical direction by the highly experienced Bev Woodford. The hire revenue for the year was bolstered by approximately $17,000 due season at the National opened on 21 May and ran until 5 June 2010 with to receipt of the final payment from the sale of the Miss Saigon sets and two outstanding performers, Jodie Symes and Dianne Crough, cast to share costumes from the previous year. It was also helped by a rental income the key role of Dusty Springfield. Dusty was not the first time CLOC had from CLOC Central totalling just under $1,000. As yet the company did not elected to cast two people in a leading role as Grant explained: have any on-going external hire for CLOC Central but was on the lookout We had followed this strategy for both Evita and Song and Dance, largely for a suitable customer. because of the size of the role and also because of the demands on the In between her efforts on behalf of ticket sales and costume making, individual and management’s concern for their general well-being. People committee member Carol Humphrey completed work on the production sometimes don’t understand that with an amateur company cast and crew of a very comprehensive manual for CLOC’s Computerised Hire System also have their day jobs which means CLOC has an obligation not to push them thus ensuring the company had a handy reference for any operational beyond what is sensible and not put them at risk. Occupational health and safety is hugely important to us and we have a raft of policies and procedures in place to pro-actively manage this key aspect of our operations. Although ticket sales for Man of La Mancha were the lowest since A Little Night Music, and the production fell short of its budget by $61,000, this unexpected result was due to a whole range of circumstances, just one of which was associated with the relocation from the Alexander Theatre to the National. Thirty-four per cent of the people who purchased tickets for La Mancha had not been to a previous CLOC production and despite the disappointing ticket sales, CLOC actually fared much better for this season than most other companies around Melbourne, at the same time suggesting that low sales were not entirely attributable to the move from the Alex. Indeed, upon further investigation, the committee concluded that performing during school holidays had meant many patrons were away, there was significant competition from numerous professional productions running at the same time and there was an impact from the federal election and the football finals. 32 CLOC MUSICAL THEATRE 1964-2014

questions that might arise when using the system while also enabling anyone admiration when it came to the professional quality and beauty of the to easily learn how to operate it. production. At the 2011 Guild Awards CLOC received a total of eight In moving forward into 2011, most of the company’s infrastructure was in nominations for Aspects of Love and two for Fiddler on the Roof, winning place and the company was well-established at the new theatre. However two awards for Aspects of Love (Technical Achievement and Set Design). many challenges lay ahead. With the move to St Kilda the demography of However, despite the excellence of Aspects of Love, it failed to attract the audience was changing as many older patrons found that getting to sufficient audience to cover the costs of production and ended up with the new location was too much of a challenge. As CLOC began to build a very similar attendances to Man of La Mancha, the second show of the new audience, the committee realised there were opportunities for staging previous year. Along with not being very well known or popular, Aspects shows that would appeal to a different demographic and the vast potential of Love was once again competing against Melbourne’s football finals and audience located within the catchment area of the National. a season that was totally within school holidays. After two years this had The company now had nearly $700,000 of fixed assets (at insured value) proven to be a very bad combination. After two years at the National - a situation that was creating two major challenges. First the ongoing Theatre production, the second year had followed almost exactly the same maintenance of these assets was becoming increasingly complex and sales and attendance patterns as the first with increasing numbers of new costly. Secondly, it was imperative that the economic returns from these customers who tended to be younger and geographically closer to investments were significantly increased through more external venue hire the theatre. and further growth of the other hire businesses. In 2010 non-production Throughout the year, work had continued apace on the implementation overhead costs had been nearly $87,000, a substantial rise compared with of more efficient systems of marketing and ticketing especially with respect previous years. Moreover, given that the largest part of CLOC’s fixed assets to ticket sales on the internet, the use of YouTube, the Theatrepeople was represented by the buildings located on land leased from the Uniting website and social media such as Facebook. At the theatre box office, Church at Heatherton, the company was focused on negotiations to credit cards could now be swiped and receipts printed. At the same time, extend the lease, while also developing strategies to raise the funds needed the return on invested funds had been almost $20,000 while CLOC’s hire in order to purchase the Heatherton property prior to the expiry of business continued to provide additional essential income, bringing in nearly existing arrangements in 2020. $27,000 in 2011 from sets, props, back cloths, costumes and venues. With After more than a decade of building projects and other significant changes an overall net worth in fixed and liquid assets now approaching $1.1 million, of direction that included the historic move to a new theatre, 2011 was total annual overheads of approximately $58,000 and non-show income of a year of consolidation for CLOC. However, this did not mean an easing around $53,000 it was apparent that the company had to make a profit of of the enormous pressure on everyone involved in the running of the approximately $38,000 on its productions in order to break even. However, company and the mounting of the year’s two successful productions Fiddler as Grant acknowledged, ‘over the last two years this has not happened’, on the Roof and Aspects of Love. with the result that CLOC needed ‘to take urgent action’ in order to An exciting event in May was the visit to CLOCworks by the Minister ensure the company was not dependent on production profits to cover for the Arts, the Honourable Simon Crean MP. A keen patron of the its recurrent costs. To achieve this, Grant believed that the committee performing arts, the Minister spent over an hour inspecting the company’s needed to consider ways to reduce costs and/or increase non-production store of costumes, looking over the Fiddler set and chatting to volunteers, income, while also focusing on maximising profits from productions. More committee, cast members and production team. specifically, Grant urged the committee to ‘continue to be careful and Fiddler on the Roof was a huge success with audiences, vindicating the cautious with show selection, (as) we cannot afford to get self-indulgent and committee’s decision to revive such a well-known classic and repeating mount productions that are not commercially viable.’ a show that CLOC had previously produced in 1987. Ticket sales for this Once again, during 2012, CLOC presented two outstanding productions - production broke many records held by previous shows and had it been Sunset Boulevard and All Shook Up. In mounting Australasia’s non-professional performed at the Alexander Theatre, Fiddler would have been a sell-out premiere of Lloyd Webber’s Sunset Boulevard, CLOC assembled a first rate season. However, such a situation would have been problematic as the cast that included many leading performers who were so keen to be part company was now finding that not only were more people wanting to of the very exciting Sunset experience that they were pleased to accept come back and see the show for a second time, but that sales from word- ensemble roles. of-mouth endorsements were also growing . Even with a special additional Once again, the incredible array of technical and artistic challenges third matinee, Fiddler managed to set a record for the largest CLOC presented by Sunset provided CLOC with the opportunity to demonstrate audience in its history when on the Sunday matinee on 29 May 2011 there what was, by now, the company’s very impressive mastery of the intricacies were 768 people in the audience – three short of the available capacity of of music theatre production. In a show where the set played such a crucial the theatre. Overall, eight of the twelve performances sold to the general role in the unfolding of the story, designer Brenton Staples again provided public had more than five hundred seats which was the maximum number a spectacular visual sensation. Not only were his sets the subject of much of seats available per performance at the Alex. A profit of $65,000 made of the complimentary feedback later received from a very enthusiastic Fiddler one of CLOC’s most successful productions from a financial point audience, his talent and creativity were recognised by the Guild when he of view. received an award for the design of the Hollywood mansion of faded The year’s second show was the very complex Aspects of Love - an Andrew movie star Norma Desmond. Lloyd Webber musical which tested every department in its complexity and Marketing for Sunset had targeted the growing Southbank demographic density – over sixty scenes, some lasting barely twenty seconds, an intricate and train travellers through City Weekly, paid advertising had appeared interweaving of sets and curtains that all required precise timing and in Jewish News and gay publications and the show was well promoted interlocking to avert a potential disaster, an inordinate number of floor and through online marketing and the Theatrepeople website. Larger than flies crew to manage the numerous rapid scene transitions, tables of props usual numbers of registration forms had been completed during the season, that necessitated double the usual number of crew to manage, innumerable particularly from the St Kilda and Bayside areas indicating the changing costume and wig changes entailing a huge team of dressers, wig and make- profile of CLOC audiences. up personnel kept on their toes, along with tricky music that did not pause Perhaps because of its dark subject matter and essentially unsympathetic for breath or applause and which tested timing and harmonies. main characters, Sunset, while an artistic triumph, did not attract the Once again, CLOC’s amazing technical, backstage and production teams audiences hoped for. Sales fell well short of budget which meant a loss all worked in their usual seamless way to conquer the technical and artistic nearly $21,000 on the production despite expenditure being maintained challenges of the show. In doing so they managed to produce a visually and within budget. One major achievement of the show, though, was that the aurally stunning, exquisite piece of musical theatre that was breathtaking agents for the Really Useful Group (Andrew Lloyd Webber’s company) in its complexity. Moreover, whatever reservations audiences may have flew to Melbourne from Sydney for Sunset’s spectacular opening night. had about the content of the show, there was no doubting their awe and In all likelihood, it was their positive impressions that resulted in CLOC CLOC MUSICAL THEATRE 1964-2014 33

being given the world amateur rights to the first production of 2013, The made by everyone involved, Grant pointed to the enormous number of Phantom of the Opera – a huge achievement for the company and a fitting people who had given: recognition of its total professionalism. their heart and soul and then some to ensure the success of the production. As always, Chris Bradtke’s interpretation of Sunset Boulevard more than The entire production team needs to take a huge bow. Once again we were justified his reputation as one of music theatre’s most inspiring and talented blessed with our brilliant, reliable and loyal crew – boosted to record numbers directors. Writing in his program notes Chris paid tribute to CLOC’s to be able to operate the show seamlessly. Their outstanding performance was continued ‘unswerving resolve to bring high quality musical theatre recognised by the Music Theatre Guild with a Technical Achievement Award. productions to their audiences’ and the talents of Andrew Lloyd Webber High praise for this landmark production also came from the director, Chris whose works CLOC had staged on four previous occasions. Bradtke, whose program notes record his unbounded admiration for what After the somewhat downbeat Sunset Boulevard, All Shook Up turned out CLOC had achieved with Phantom: to be what Barry Venning described as ‘a complete breath of fresh air and a I have had a long association with CLOC Musical Theatre this being the thirteenth production that took everyone by surprise.’ Inexplicably, although the show show that I have directed for this remarkable theatrical organisation. Few amateur had been done in Australia, it was essentially unknown, except as a jukebox musical theatre companies in the world could muster the resources and the musical based on the music of Elvis Presley. However, the faith CLOC and talent needed to produce the number of high quality productions offered to their its director/choreographer Craig Wiltshire had in its appeal proved to be audiences over five decades. I somewhat naively believed that CLOC and I had totally vindicated by the love and enthusiasm generated by all involved – peaked with the 1993 Australian amateur premiere production of Les Misérables. cast, crew, production team, and most especially audiences, who emailed, But since then, they have gone on to build a deserved reputation for wonderful rang and wrote with rapturous feedback unprecedented in number and productions that have enriched Melbourne’s burgeoning and extremely rich nature of glowingly positive comments. Writing in the program, Grant theatrical milieu. noted that All Shook Up’s hugely talented cast of thirty-two were all in their Many audience members who had seen and loved Phantom were so early twenties and two thirds were new to CLOC - a development he excited by the experience that the copious feedback from Facebook, email, believed augured well for the future and standard of the company’s shows. telephone, cards, reviews, or in person, was collated into a record twenty- Audience numbers grew steadily through the season, including a very large four pages. percentage of return patrons, who came to see the show more than once. Despite the extremely high cost of mounting this production, Phantom still Not only did All Shook Up attract a record number of new mailing list made a very impressive profit of over $50,000 and, equally importantly, customers to CLOC, but sales exceeded budget producing a healthy profit further cemented CLOC’s position and reputation both in the National of over $18,000. Importantly, All Shook Up also marked a turning point with Theatre in St Kilda and in the industry generally. respect to the views expressed by many of the company’s new patrons The year’s second production was Guys and Dolls and almost five thousand who had advised that based on their very positive experiences they would people (fifty-three per cent houses) came to see the show. While ticket continue to attend CLOC’s shows. This recognition of the excellence of sales for Guys and Dolls proved to be somewhat less than those for Phantom, the productions coupled with the very affordable ticket prices marked an production costs had been significantly lower which meant that the show important milestone in the transition from the Alex to the National. turned in a respectable profit in excess of $10,000. Once again CLOC The success of All Shook Up was matched by its four Guild awards (from received a substantial amount of positive feedback from very happy twenty-four nominations), including the prestigious Production of the audience members. Year, as well as Best Lead Actor (Jonathon Guthrie-Jones), Best Sets (John At the 2013 annual meeting, Grant had reported that All Shook Up ‘marked Shelbourn) and the award for musical direction which was shared by Danny a turning point with new patrons, who stated that they will continue to attend Forward and Andy McCalman who won for Sunset). CLOC shows because they are CLOC shows.’ Audiences in 2012 had been CLOC’s reputation for always moving with the times had been further impressed by the company’s outstanding production values, high standards consolidated and enhanced by its early adoption of a communications and of performance and very affordable ticket prices, which now averaged marketing strategy based on the use of the internet, information technology, around $50. social media and electronic booking. By the end of 2012, the company had 2013 also saw further success with new marketing strategies, especially in more than a thousand friends on Facebook and rapidly increasing use of the relation to print media and the internet. By now, the company had established website for ticket purchases and contact. Similarly, hire of costumes and set a solid core of local newspapers and niche magazines and was building continued to be an important source of revenue, with the All Shook Up set excellent relationships with the market surrounding the National Theatre. being hired by Brisbane’s Harvest Rain Theatre Company. Major steps had also been taken in further utilisation of electronic marketing In focussing on some future challenges, the committee remained mindful of and in developing consolidated campaigns across email broadcasts, the CLOC what Grant described as the always ‘difficult juggling act’ of show selection. website and Facebook pages. In particular, the response to Facebook and Not only were the shows CLOC wanted to stage not always available, but internet marketing had been spectacular, a reflection of the dominance of the company needed to select shows which would continue to attract the internet and the use of electronic communication platforms. In 2003 just the top production teams and the most talented performers. Moreover, two per cent of customers had ordered their Gigi tickets on the internet. A CLOC now had four venues which, in addition to management of health decade later, this had increased to forty-five per cent, with traffic also on the and safety requirements required regular maintenance and cleaning – all of rise for cast registrations, preferential customers, volunteers and so on. which required an on-going financial commitment over and above budgets Yet despite the excellent profits from Phantom and Guys and Dolls, by 2013 allocated for productions. the effects of the growth strategy of the previous two decades had begun Having been granted the rights to the world amateur premiere of The to have a major impact on the budget. As Grant explained at the 2014 Phantom of the Opera, 2013 marked another important turning point for annual meeting: the company. As reflected in both ticket sales (ninety-two per cent) and Now that we have our own facilities, the cost of maintaining and running them audience response, the staging of this very complex and demanding show is costing us nearly $100,000 per year, as against our show profit in 2013 of just proved to be an unforgettable experience for all involved. After auditioning over $60,000. This is not enough to keep CLOC afloat, let alone meet our long nearly two hundred very talented performers, the cast of thirty-three term objectives of future proofing the company. However, in 2013 we received included Toby Truscott as The Phantom, Laura Slavin as Christine Daaé, Interest on our accounts of about $11,600 - despite the low interest rates - and Patrick Hill as Raoul, and six other principals and an ensemble of eighteen. hire revenue in excess of $56,000. Thanks to Allan Paul, our costume hire business One of the largest and most multi-faceted shows ever staged by the for the year was above average and this was significantly supplemented with hire company, Phantom also cost thirty per cent more to mount than any of our Phantom set and costumes. We also had a regular hirer of CLOC Central previous production. In paying tribute to the ‘all-round monumental effort’ which assisted, though unfortunately we have now lost this hirer and are currently 34 CLOC MUSICAL THEATRE 1964-2014

looking for replacements. We still have management, making it more responsive and effective, while ongoing hire of Phantom throughout 2014 better spreading the work load and empowering those appointed to along with other set hire commitments responsible positions. which will help meet our operating costs for • The development of a comprehensive marketing strategy and template the next two years but we seriously need to that is focused on the CLOC brand. find an ongoing revenue stream from hire of • Beginning with storage of sets, costumes and props in a tiny shed CLOC Central to cover our overhead costs behind shops in Cheltenham shopping centre and work carried out beyond 2015. in a home driveway, to a dirt floor barn in Brighton, then a dedicated In these circumstances, some key challenges facility in McKinnon provided by the Moorabbin Council, with financial facing the company in its fiftieth year included participation by CLOC, the company expanded to an area underneath the maintenance of what were now audience the school hall at the now defunct Chadstone High School followed by expectations relating to high production storage at the Brewer Road Uniting Church Hall. Recognising that as values, selection of shows that would appeal part of securing CLOC’s future the company needed its own dedicated to existing and potential customers and the facilities saw the construction of CLOCworks followed by the Costume continuation and further development of Resource Centre, both of which are owned on rented land. CLOC then marketing strategies. Indeed, as CLOC moves took over and refurbished the former Girl Guides Hall in Dane Road into its sixth decade it is imperative that it is to provide a dedicated rehearsal facility known as CLOC Central and able to position itself so that, as Grant declared, which is rented from Kingston Council. ‘it will be around for its centenary celebrations, • Recognising the importance and specific needs of CLOC’s many and not be like a lot of other companies that volunteers and their critical value to the company. Since 1990 there has have just withered and died. To achieve this, the company must remain been a focus on the active recruitment of volunteers to all areas of the vigilant and not become over confident or self-indulgent, especially where it organisation. Volunteers benefit from a mentoring program, training comes to show selection.’ and the support necessary for them to contribute and succeed and In looking back from the standpoint of 2014, it is clear that a fundamental hopefully excel. The company has also ensured that the incredible work element of CLOC’s continued success can be attributed to the calibre of undertaken by its volunteers is appropriately recognised. the people it has been able to attract. More than anything, CLOC owes an • Providing fantastic opportunities for involvement and enjoyment to enormous debt to all those individuals who have, at various times, worked to more than 1,600 cast members, over 1,100 production personnel and make a shared vision for what might be achieved in music theatre a reality. affordable, high quality entertainment for more than 500,000 customers. It has been their ongoing support and commitment that has seen the After five decades of growth, what began in 1964 with a small group company progress from very small beginnings to an unrivalled position in of enthusiasts who got together to stage a production of The Pirates music theatre production. of Penzance has evolved into what is undoubtedly one of the most There is no doubt that the principles upon which CLOC was founded professionally managed non-professional music theatre production have stood the test of time, serving the company well when other similar companies. The staging of one hundred shows, the acquisition of dedicated organisations have gone out of business. set-building, costume making and rehearsal facilities and a plan to future- Over the decades it has been a combination of judicious financial control, proof the company represents an extraordinary record of achievement. strong leadership and a continuity of skilled management, complemented In the end of course, the success story that is CLOC Musical Theatre by regular infusions of new blood that has brought administrative stability is as much about its people as it is about the productions. Without the coupled with a willingness to embrace change and innovation. Over fifty generosity, commitment, enthusiasm and drive of countless individuals the years CLOC has faced many challenges, each of which has provided an company would not have survived the many challenges it has faced and opportunity for the company to grow and evolve into the success story overcome since 1964. Over the next few years and beyond, this success that is has become. In 2014 there is much to celebrate. Some of the key will almost certainly continue to depend on CLOC’s people. It will be milestones and significant achievements include: their expertise, resourcefulness and passion for music theatre which will From humble beginnings in a tiny church hall in Cheltenham, what was determine the future. then the Cheltenham Light Opera Company soon moved to Highett High School then Cheltenham High School. In 1971 productions began at Monash University’s Alexander Theatre and now the National Theatre St Kilda. Each move was managed successfully, each time growing the customer base and further advancing CLOC and the quality of its productions. Maintaining and building – at times against strong attack - a significant, totally opt-in Preferential Mailing List now totalling, in 2014, nearly 15,000 subscribers. • From an initial well-thought-out Constitution developed in 1964, CLOC has moved with the times through incorporation, organisation restructure and positioning the company for the future with complete rewrites and/or revisions in 1982, 1991, 1996 and most recently in 2013 to provide the current Memorandum and Articles of Association which are now structured toward the future proofing of CLOC. • Developing, documenting, implementing, refining and continuing to review and maintain a detailed organisation structure, position descriptions, policy documents and procedures providing a solid ‘tried and tested’ organisational infrastructure and delivering management teams with a sound blueprint for the future. • After twenty-five years of managing the company with a traditional committee structure, a new model that removed the ‘day to day’ operation from the committee and focused it more on policy, strategy and future direction was implemented. This streamlined the CLOC MUSICAL THEATRE 1964-2014 35

Appendix 1 CLOC Life Members 1964-2014 Life Members Inducted Life Members Inducted George Hadwen Not known Gwynn Upfill (dec) 1995 Barry Reaper 1970 Meryl Withers 1995 Ron White 1972 John Davies 1996 Janette Proposch (dec) 1974 Jan Sheppard 1996 Vic Proposch (dec) 1974 Janet Cameron 1997 Russ Etty (dec) 1977 Liz Smallridge 1999 Grant Alley 1978 Robert Griffin 2004 Dorothy Tyson 1978 Allan Paul 2004 Rod McKenzie 1980 Ian Simmonds 2004 John Hales 1982 Alan Burrows 2010 Horrie Leek 1985 Ken Taylor 2010 Betty Pink 1987 Bernard Hedger 2014 Sandra Davies 1993 Gemma Hedger 2014 Maureen Allan (dec) 1994 David Hobbs 2014 Appendix 2 CLOC Musical Theatre Inc Elected Office Bearers 1964-2014 President Vice President/ Secretary Treasure President Vice President/ Secretary Treasure Administrator Administrator Kelly Garland Bruce Ackland 1964 Clarrie Mahlo Jean Tyson 1989 John Davies Grant Alley Janet Cameron Bruce Ackland 1990 John Davies Grant Alley Janet Cameron Liz Smallridge 1965 Vic Proposch Jean Tyson 1991 Grant Alley Sandra Davies Janet Cameron Liz Smallridge 1992 Grant Alley Sandra Davies Janet Cameron Liz Smallridge 1966 Vic Proposch 1993 Grant Alley Sandra Davies Lois Little Liz Smallridge 1994 Grant Alley Sandra Davies Lois Little Liz Smallridge 1967 Vic Proposch Russell Etty 1995 Grant Alley Sandra Davies Nicole Cooper Liz Smallridge 1996 Grant Alley Sandra Davies Janet Cameron Liz Smallridge 1968 Barry Reaper Russell Etty 1997 Grant Alley Sandra Davies Janet Cameron Liz Smallridge 1998 Grant Alley Sandra Davies Janet Cameron Liz Smallridge 1969 John Hales Russell Etty 1999 Grant Alley Sandra Davies Janet Cameron Liz Smallridge 2000 Grant Alley Sandra Davies Janet Cameron Liz Smallridge 1970 John Hales Russell Etty Barrie Reaper 2001 Grant Alley Sandra Davies Janet Cameron Liz Smallridge 2002 Grant Alley Sandra Davies Janet Cameron Liz Smallridge 1971 John Hales 2003 Grant Alley Sandra Davies Janet Cameron Liz Smallridge 2004 Grant Alley Sandra Davies Janet Cameron Liz Smallridge 1972 Barry Reaper Russell Etty Clarrie Stillman 2005 Grant Alley Sandra Davies Barry Venning Liz Smallridge 2006 Grant Alley Sandra Davies Barry Venning Liz Smallridge 1973 Rod McKenzie Warren Harding Clarrie Stillman 2007 Grant Alley Sandra Davies Barry Venning Liz Smallridge 2008 Grant Alley Sandra Davies Barry Venning Liz Smallridge 1974 Rod McKenzie Russell Etty 2009 Grant Alley Sandra Davies Barry Venning Liz Smallridge 2010 Grant Alley Sandra Davies Barry Venning John Davies 1975 Warren Harding 2011 Grant Alley Sandra Davies Barry Venning John Davies 2012 Grant Alley Sandra Davies Barry Venning John Davies 1976 Mick Clutton Libby Skidmore Russell Etty Barry Reaper 2013 Grant Alley Sandra Davies Barry Venning John Davies 2014 Grant Alley Sandra Davies 1977 Mick Clutton Rod McKenzie Horrie Leek 1978 Mick Clutton John Hales Rod McKenzie Horrie Leek 1979 John Hales Ian Cross Rod McKenzie Horrie Leek 1980 John Hales Mick Clutton Horrie Leek Gerry McCormick 1981 John Hales Ken Taylor Horrie Leek Gerry McCormick 1982 Ken Taylor Meredith Temple Meryl Withers John Davies -Smith 1983 John Hales Meredith Temple-Smith Meryl Withers John Davies 1984 John Hales Gwyn Upfill Meryl Withers John Davies 1985 Gwyn Upfill Neil Shilton Meryl Withers John Davies 1986 Gwyn Upfill Sandra Davies Neil Shilton John Davies 1987 Sandra Davies Kerrin Addis Jan Sheppard John Davies 1988 Sandra Davies Jan Sheppard Janet Cameron Bruce Ackland 36 CLOC MUSICAL THEATRE 1964-2014

Appendix 3 CLOC Musical Theatre Music Theatre Guild of Victoria Awards for Excellence 2013 Phantom of the Opera Design Award – Brenton Staples A Chorus Line Best Choreographer – Lynette White Best Actress – Elizabeth Garnsworthy Technical Achievement Dancer’s Award – Elizabeth Garnsworthy Judge’s Award – James Rooney 2012 Sunset Boulevard Musical Direction – Andrew McCalman Design Award – Brenton Staples 1997 Song & Dance Best Choreography – Christine Barratt Dancer’s Award – Rebecca Jeffs All Shook Up Production of the Year Best Lighting – George Kulikovskis Musical Direction – Danny Forward Best Setting – John Shelbourn Chess Production of the Year Male Performer in a Leading Role Best Director – Rob Robson Best Musical Director – Andrew Leach – Jonathan Guthrie-Jones Technical Achievement Best Actor – Paul Scott-Williams 2011 Aspects of Love Best Setting – Brenton Staples Technical Achievement 1996 42nd Street Best Choreography – Susan Lewis Best Lighting – George Kulikovskis The Boy from Oz Female Performer in a Supporting Role City of Angels Best Setting – John Burrett – Bree Cahill Technical Achievement Judges Award – Heath Harney Hot Shoe Shuffle Best Choreographer – Susan Lewis Edith Harrhy Award for Outstanding Contribution to Musical Theatre Best Dancer – James Rooney 2007 Blood Brothers Female Performer in a Supporting Role John Burrett – Pam Christie Birkett 2006 The Scarlet Pimpernel Production of the Year 1994 Into the Woods Production of the Year Direction – Chris Bradtke Best Setting – Chris White Musical Direction – Michael Loughlin Best Lighting – Graham McGuffie Best Setting – Brenton Staples Technical Achievement Best Lighting – Stelios Karagiannis Best Actor – Paul Keelan Wardrobe – John Azzopardi Best Supporting Actor – Trevor Alexander Male Performer in a Leading Role 1993 Funny Girl Best Actress – Emma Powell – Sean Kingma Les Miserables Production of the Year Edith Harrhy Award for Outstanding Contribution to Musical Theatre Best Director – Chris Bradtke Best Setting – John Burrett Allan Paul Best Lighting – Graham McGuffie Technical Achievement 2005 Jekyll & Hyde Musical Direction – Ben Hudson Best Actor – Gary Baade, Mark Dickinson Best Lighting – Stelios Karagiannis Best Supporting Actor – Marcus Millers Male Performer in a Leading Role Best Supporting Actress – Emma Powell Junior Award – Elizabeth Bradtke, Oliver Knuckey – Lee Threadgold Female Performer in a Supporting Role 1992 Sunday in the Best Setting – Chris White Park with George Best Lighting – Graham McGuffie – Sally Morrison Steel Pier Best Choreographer – Susan Lewis Dancer’s Award – Dance Ensemble 2003 Gigi Best Setting – Brenton Staples, Les Cook Edith Harrhy Award for Outstanding Contribution to Musical Theatre Technical Achievement Wardrobe – Nancy Pizzi Sandra Davies Female Performer in a Supporting Role 1990 Carousel Best Supporting Actress – Joanne Dodds – Patricia McCracken Mame Best Musical Director – Tim Smith Pippin Production of the Year Best Actress – Christine Andrew Best Director – Tamara Finch Technical Achievement Best Choreographer – Tamara Finch Best Lighting – Martin Karklins Edith Harrhy Award for Outstanding Contribution to Musical Theatre Technical Achievement Dancer’s Award – Luke Taylor Grant Alley 2002 Hot Mikado Best Supporting Actor – Lee Threadgold 1988 1776 Production of the Year Best Director – Alan Burrows My One and Only Best Setting – Barry Pearce Best Setting – Laurie Lane Technical Achievement Best Actor – Peter Blizzard-Allen Special Award – Adeline Han, Gregory Smith Best Supporting Actor – Rob Constable Special Awards – Steven Ritchie, Rex Keane 2001 West Side Story Judge’s Award – Lisa Trigili Chicago Choreography– Tamara Finch FEIP AWARDS Lighting – George Kulikovskis Technical Achievement 1985 South Pacific Best Setting – Kel Pearson Special Award – Andrew Wild Best Actor – Donald Cant 1983 Sweeney Todd Best Setting – Pat Morton 2000 A Little Night Music Musical Direction – Philip Carmody Best Costume Design – David Richards Female Performer in a Supporting Role 1982 Robert and Elizabeth Best Actor – Rex Callahan Production of the Year – Pam Christie Birkett Best Director/Choreographer – Graeme Coombs 1999 Company Musical Direction – Sue Porter/Andrew Leach No No Nanette Best Actor – Chris Bradtke Male Performer in a Leading Role – Andrew Dark 1981 How to Succeed Female Performer in a Supporting Role in Business Without Really Trying – Pam Christie Judge’s Award – Shannon Woollard 1998 Singin’ in the Rain Female Performer in a Supporting Role 1980 La Belle Helene Production of the Year – Elizabeth Dark Best Director – Grahame Murphy Judge’s Award – Simon Redhead CLOC MUSICAL THEATRE 1964-2014 37

Since 1964 CLOC Musical Theatre Inc has presented 2014 42nd Street 1988 Bye Bye Birdie 1776 2013 The Phantom of the Opera Guys and Dolls 1987 Pajama Game Evita 2012 Sunset Boulevard All Shook Up 1986 Cabaret Follies 2011 Fiddler on the Roof Aspects of Love 1985 South Pacific Annie 2010 Dusty: The Original Pop Diva Man of La Mancha 1984 Something to Sing About Irene 2009 Miss Saigon Foiled by an Innocent Maid High Society 2008 The Boy from Oz 1983 Sweeney Todd Hot Shoe Shuffle Orpheus in the Underworld 2007 Shout! The Legend of the Wild One 1982 Robert & Elizabeth Blood Brothers No No Nanette 2006 The Scarlet Pimpernel 1981 How to Succeed in Business Without Really Trying Cats Hello Dolly! 2005 Jekyll & Hyde 1980 Oklahoma! Steel Pier La Belle Helene 2004 Mack & Mabel 1979 Guys and Dolls Gypsy 2003 Gigi 1978 Half a Sixpence Pippin Oliver! 2002 Hot Mikado 1977 Fiddler on the Roof My One and Only My Fair Lady 2001 West Side Story 1976 Annie Get Your Gun Chicago Whitehorse Inn 2000 Anything Goes 1975 The Merry Widow A Little Night Music Can-Can 1999 Gotta Sing! Gotta Dance! 1974 La Vie Parisienne Crazy for You Kiss Me Kate Company 1998 Singin’ in the Rain 1973 Naughty Marietta A Chorus Line Kismet 1997 Song & Dance 1972 The Desert Song Chess Song of Norway 1996 42nd Street 1971 Carousel City of Angels Die Fledermaus Only an Orphan Girl 1995 Barnum 1970 Orpheus in the Underworld A Funny Thing Happened on the Way to the Forum The Music Man 1994 Into the Woods 1969 Iolanthe Brigadoon 1993 Funny Girl Les Miserables 1968 Oklahoma! 1992 Can-Can 1967 The Gondoliers Sunday in the Park with George The Vagabond King 1991 Sweet Charity 1966 Trial by Jury Kiss Me Kate The Sorcerer 1990 Carousel 1965 Yeoman of the Guard Mame The Mikado 1989 George M! 1964 Pirates of Penzance Silver Celebration 38 CLOC MUSICAL THEATRE 1964-2014