42nd St Program

PRESIDENT’S NOTE DIRECTOR’S NOTE It is with a great deal of pride and excitement that I welcome The joy of 42nd Street can only be matched by the joy I feel you to this momentous occasion – the 50th year and 100th in being involved with CLOC’s 100th show and their 50 year production of CLOC Musical Theatre, an event worth trumpeting celebration. Having had a long association with CLOC now and applauding. spanning nearly 40 years I have observed their development in Dr Susan Johnston has written a potted summary of CLOC’s first becoming one of the leading non-professional musical theatre 50 years elsewhere in the program, so it is just left for me to slot companies in Australia, through nothing more than dedication, hard myself into CLOC’s story. In 1969, I arrived as a naïve 18 year work and the pursuit of excellence. I feel truly blessed to have been old to assist as Assistant Stage Manager for Brigadoon. I soon associated with such a group of people and for the chance to revisit became Stage Manager, and in 1974 Technical Director in charge a show I first directed 18 years ago. of set construction, a position I have held for every CLOC show It is fitting that such an iconic show should be chosen to showcase since. I have also been on the CLOC committee continuously since CLOC in their 50th year, for 42nd Street is a big, bold musical that the age of 19 – as a general committee member (19 years), celebrates the stuff that theatrical dreams are made of. This is the Vice President (1½ years) and this is my 25th year as President. story of hard work, being in the right place at the right time, talent During my 45 years with CLOC, the company has gone through and love. 42nd Street is a celebration of Broadway and the people some monumental changes – we have moved from performing in involved in shows. It is the epitome of what musical theatre means church halls to local high school auditoriums, then the Alexander to all who participate, and for an ensemble to be recognized as Theatre at Monash University and since 2010, here at the National featured performers in this dance-driven show. Theatre. We have broadened our brief from performing only The film 42nd Street, based on the novel by Bradford Ropes, Gilbert and Sullivan operettas, to light operas, to now being at the was very successful at the box office and was nominated for the forefront of producing premiere non-professional productions of Academy Award for Best Picture in 1934, and was selected in major musical events, including Victorian, Australian, Australasian 1998 for preservation in the United States National Film Registry and even world non-professional premieres (the most recent being by the Library of Congress as being \"culturally, historically, or The Phantom of the Opera in May 2013, which performed to aesthetically significant\". In 2006 this film ranked 13th on the record crowds, glowing audience feedback and is CLOC’s biggest American Film Institute's list of best musicals. selling show to date). We also now have our own dedicated The stage show premiered on Broadway in 1980 and was rehearsal space (CLOC Central), set building shed (CLOCworks) subsequently revived in 2001. The 1980 Broadway production, and costume making/store (the Costume Resource Centre or was directed by Gower Champion. It won five Tony Awards in CRC). 1981, including Best Musical and became a long-running hit. When the hard working CLOC committee sat down to decide on a The show was produced in London in 1984 (winning the Olivier fitting show for its 100th production, we went back through our Award for Best Musical) and its 2001 Broadway revival won the past catalogue of shows and looked no further than our 1996 Tony for Best Revival. When CLOC first produced it in 1996 at the staging of the ultimate backstage song and dance extravaganza Alexander Theatre, it proved to be one of their biggest box office 42nd Street – a show about putting on a show, about the joy of successes at that theatre and it won two Guild Awards that year for musical theatre and a true lullaby of Broadway. When CLOC first Choreography and Lighting. staged 42nd Street in 1996, the season proved to be one of the I’m indebted to CLOC for the wonderful creative team they have most successful in our history with both cast and audiences. So it assembled around me, many of whom I have known for “a very seemed only fitting to invite back the director and choreographer long time” and I wish to congratulate each for the contribution from that 1996 production eighteen years ago (Alan Burrows they have made. However it would be remiss if I didn’t single out and Susan Lewis) to restage a new version of this spectacular Susan Lewis our choreographer. This is, by my count, our ninth hit, along with the very talented Musical Director Bev Woodford. collaboration together, including CLOC’s original 42nd Street and Joining them on the Production Team is James Rooney as when you’re doing a dance show of this magnitude there is no one Assistant Director/Choreographer. James, along with fellow better to have by your side. performers Tim Cant, Robert Griffin and Chris Rogers, was in our Alan Burrows 1996 production, playing the role of Andy, which is he reprising Director this time around, while other cast members were babies or toddlers when we last did the show. It is very pleasing that of our 33 cast members, 23 are CLOC alumni who have returned to be part of this special occasion. I give heartfelt thanks to my dedicated, supportive and hard-working committee and mostly to you, our loyal audiences, without whose support there would be no CLOC. Let us all give ourselves the ovation we deserve as we salute CLOC’s achievements of the past and excitedly look towards the next chapter of CLOC’s life. One thing I can guarantee – with the calibre of shows we know we are capable of producing, with the commitment and passion of CLOC’s wonderful volunteer base and with the loyalty and support of our ever-increasing numbers of patrons, CLOC will continue to flourish, excel and surpass benchmarks and expectations. As someone who has devoted most of my life to CLOC, that fills me with an enormous sense of pride and achievement. Grant Alley President 2

MUSIC BOOK LYRICS Harry Warren Michael Stewart Al Dubin & Mark Bramble Based on a novel by BRADFORD ROPES Original Direction and Dances by GOWER CHAMPION Originally Produced on Broadway by DAVID MERRICK with Pam Christie Birkett, Ric Birkett, Melanie Ott, Tim Cant, Stephanie Powell, Scott Hili, Richard Perdriau, Michael Hanlon, James Studds, Robert Griffin James Rooney, Tailem Tynan, Katie Bull, Nadia Gianinotti, Matthew Hadgraft, Kirra Sibel Jacqueline Addison, Lucinda Barratt, Courtney Davies, Matt Dillon, Bryce Dunn, Laura Green, Chris Higgins, Nathaniel Lamond, Jason Mill, Claire Robinson, Chris Rogers, Blair Salmon, Jon Sebastian, Jodie Symes, Jack Turner, Ashley Tynan-Mill, Carly Watson Alan Burrows Susan Lewis Bev Woodford James Rooney Director Choreographer Musical Director Assistant Director / Assistant Choreographer Graham McGuffie, Victoria Horne Brad Alcock Marcello Lo Ricco Merinda Backway Costume Designer Lighting Designer Sound Designer Set Designers Sandra Davies Grant Alley Debbie Osborne Stage Manager Technical Director Production Manager Assistant to the Director Bernard Hedger Melinda Peebles Beth Stryk Stage Director Costume Co-Ordinator Props Co-ordinator 3

ALAN BURROWS Starting life as a junior onstage performer alongside his late parents, Harold and Doreen, then graduating to lead roles as an adult, Alan Burrows is now one of the most well-known, well-regarded and prolific identities in the Melbourne Director dramatic and musical theatre communities. ‘Busy’ does not even begin to describe Alan’s directing life – most years, he averages four productions, straddling companies, styles and forms, schools, corporates and organisations. After over SUSAN LEWIS 40 years of directing both professional and non-professional musicals, operas, pantomimes and straight plays, Alan thinks his count of shows is now almost up to 200 – that is a lot of creative output. He has been feted and recognised Choreographer by the Music Theatre Guild of Victoria, the Victorian Drama League and the Lyrebirds, with both nominations and awards, and in fact was the 2013 recipient of the Lyrebirds Hall of Fame award. For CLOC, Alan has appeared in two BEV WOODFORD shows, written two concerts/reviews and directed 18 previous productions (several alongside Susan as choreographer), starting with Can-Can in 1975, and including such standouts as Mame (in which he directed his wife Christine Andrew Musical Director in a Guild award-winning lead actress performance), Singin’ in the Rain, Barnum, Evita, Funny Girl, Cabaret, My One and Only, 1776 (Guild award-Best Director), Mack & Mabel, Steel Pier, and of course, our 1996 production of 42nd Street (yes, with Susan). Awarded Life Membership of CLOC in 2010, this is Alan’s 23rd CLOC production and his 40th anniversary of working with CLOC, achievements we think very appropriate to recognise, applaud and salute. Susan has been involved with dance all her life, with a special interest in tap. She has worked with both secondary schools and theatre companies, winning awards for both choreography and direction (Altona, Catchment, Babirra). Her dynamic choreography has been featured in seven previous CLOC productions, almost all of which have been recognised by the Music Theatre Guild with either nominations or awards as Best Choreographer. These include My One and Only (nomination), Mack & Mabel (nomination), Singin’ in the Rain (nomination), and in 2005, Steel Pier, for which she not only won Best Choreographer, but for which the entire dance ensemble also won the Dancer’s Award. She then went on to do a most successful double header for us, when in 2008, she choreographed both CLOC shows – The Boy from Oz and then probably her most remembered show, when she choreographed the tap extravaganza Hot Shoe Shuffle, not only winning the Guild award once more, but also contributing to the success of the Dancer’s Award for our assistant director/ choreographer and performer James Rooney. This was such a memorable experience for everyone involved that it is hardly surprising that Tim Cant, Melanie Ott and James were so keen to reunite and have the opportunity to work once more with Susan. Sue choreographed our 1996 production of 42nd Street (her first CLOC production), again winning the Guild choreography award for her efforts. In keeping with making this a very special retrospective on our last 50 years and 100 productions, we are delighted that Sue accepted our invitation to return to recreate her previous brilliant production numbers and to work once more with Alan Burrows. The last time we did 42nd Street, Sue was nine months’ pregnant with her second child Todd during the auditions, and by the time we started rehearsals, she had a newborn son and a toddler to contend with. She has since had two more children and that newborn son is now doing Year 12! Bev completed a Bachelor of Music at Melbourne University, where she majored in piano and clarinet. This has sown the seeds of her professional life, where she teaches piano at Cornish College, Kingsley Park Primary School and also privately in her own studio. Over the past 40 years, Bev has been involved in over 50 productions, both on-stage as a performer and in a wide range of other roles that have included backstage, front of house, rehearsal pianist and musical director. In addition to her work with local companies and schools on the Mornington Peninsula, Bev is also a Life Member of PLOS and has musically directed many of their most successful shows, including Me and My Girl, Sweet Charity, My Fair Lady, Jesus Christ Superstar and West Side Story (all Guild award nominations). Other productions have included Follies, Les Miserables, Annie, Joseph, A Chorus Line, La Cage aux Folles, L’il Abner, Cats and The Wizard of Oz. She has also conducted the end-of-year awards nights for the Music Theatre Guild of Victoria five times. For CLOC, Bev has musically directed Shout! (Guild nomination), Hot Shoe Shuffle (Guild nomination), High Society and Dusty (Guild nomination). In 2009, Bev was recognized by the theatre community with a Lifetime Achievement Award from the Music Theatre Guild. After taking a break to pursue other interests, Bev has returned to CLOC for a fifth time to pick up the baton after four years and to be reunited with many old friends and familiar faces. JAMES ROONEY James’ talents straddle both sides of the footlights, as you will see from his on-stage role as dance captain Andy Lee, for which he is credited elsewhere in the program. As dance director/choreographer, James has worked for Assistant Director/ CLOC in productions of Crazy for You, Company, Anything Goes, West Side Story, Gigi and Sunset Boulevard. As Choreographer director/choreographer, some of his productions for other companies have included Hello Dolly, Crazy for You, The Producers and Thoroughly Modern Millie. James co-founded Quirky Productions with Tamara Finch which successfully produced the Midsumma smash hit, Zanna, Don’t! (2009) and then La Cage Aux Folles (2012). This show has been a warm-up for James’ next assignment, as Director/Choreographer for our 101st production Legally Blonde, which will open right here at the National Theatre in October. 4

GRAHAM McGUFFIE Graham has spent over sixty years as a scenic artist, set and lighting designer and worked as resident designer at Monash University’s Alexander Theatre for 25 years, where he designed and lit dozens of productions, while also designing touring sets Co-Set Designer for the Victorian Arts Council and all designs for Garry Ginivan’s children’s shows (including Possum Magic, Tales of Peter Rabbit, Wombat Stew and Hairy McLairy, all touring Australia and/or New Zealand). Graham’s first CLOC design was for both the set and lighting for our Australian premiere of Sweeney Todd in 1983. Set and/or lighting designs for CLOC then followed including Follies, City of Angels, Sunday in the Park with George (Guild Award), Les Miserables (Guild Award), Into the Woods (Guild Award), Blood Brothers (Guild nomination) and most recently Man of La Mancha (Guild nomination). He has been recognized with awards from the Music Theatre Guild, the Lyrebirds, the Victorian Drama League and is also the recipient of a Monash University award for exceptional service to the theatre and a Green Room award for Technical Excellence. His professional work has included designs for the 1998 Australian/Hong Kong English National Ballet tour of Swan Lake, the 2013 Australasian tours of Yes, Prime Minister (with our co-set designer Merinda Backway) and most recently, the Australian tour of the stage version of the popular television production Mrs Brown’s Boys. Graham has also assisted Merinda with painting several of the sets she designed for the Lilydale Athanaeum Theatre. MERINDA BACKWAY Our co-set designers are a wonderful mix of generational crossover, as Graham McGuffie was designing sets long before co-set designer Merinda Backway was born. Merinda has a Bachelor of Industrial Design from Swinburne University and Co-Set Designer has spent the last five years establishing herself as an up‑and‑coming set designer and scenic artist in both straight and musical theatre. She has worked with a number of companies, primarily Lilydale Athanaeum (ten productions, including two Lyrebird awards in 2009 and 2011 for Best Set in a comedy for Caravan and ‘Allo, ‘Allo), Mooroolbark Theatre, Mockingbird, 1812 Theatre and The Basin. She has previously worked with Graham on professional productions (Yes Prime Minister international touring production, Possum Magic) and also assisted Graham with the artwork for our ‘elephant’ which was such a memorable feature of our Phantom of the Opera production. Despite the difference in their ages, Merinda and Graham make a most successful creative team, as you will see from tonight’s stunning set design. VICTORIA HORNE Vicky has been designing and creating costumes for secondary school musicals, dance schools and calisthenics competitions for over twenty years, before moving successfully into adult Costume Designer musical theatre. She received Guild nominations for the two PLOS shows she designed – Cabaret (2006) and Thoroughly Modern Millie (2008). For CLOC, Vicky started on the sewing team for SHOUT!, and then either designed and/or coordinated costumes for Hot Shoe Shuffle (2008-Guild nomination), Miss Saigon (2009), Dusty (2010-Guild nomination), Fiddler on the Roof (2011), All Shook Up (2012-Guild nomination) and Guys and Dolls (2013). 42nd Street marks Vicky’s eighth CLOC show in which, as you are about to find out, she has had absolutely no trouble in keeping up her tradition of ensuring each costume has at least one sequin on it somewhere. Did anyone say sequins???? Vicky, our sequin queen, has been in her element in this show, so get ready to be dazzled. BRAD ALCOCK Brad has been working in professional theatre for over 17 years and is currently the Technical Manager of the Besen Centre in Burwood. He also works closely with his rapidly growing company Lighting Designer BAAC Light, through which he has been involved with CLOC for several years. After studying at the VCA, Brad went on to specialize in the television and corporate sectors. MARCELLO LO RICCO Productions he has been involved with include RocKwiz, Melbourne Comedy Festival, Are You Smarter Than a 5th Grader? and Comedy Slapdown. Brad is also a highly sought after Sound Designer lighting designer by production companies and corporate clients, including some of Australia’s top tier corporations. In amateur theatre Brad designed the lighting and projection for several 5 Whitehorse productions - Beauty and the Beast, The Producers, Seussical, Aida and Rent. This is Brad’s fourth CLOC show as lighting designer, after Fiddler on the Roof (2011), All Shook Up (2012) and Guys and Dolls (2013). He also provided technical help, expertise and equipment for the film segments in our 2012 production, Sunset Boulevard. Marcello studied Performing Arts at Monash University before completing Audio Engineering studies at SAE Institute and has worked extensively in theatre sound design. In the past twelve months Marcello has done the sound design for four productions of The Phantom of the Opera in Victoria and Tasmania and other shows including My Fair Lady (Footlight - GPAC), Little Shop of Horrors and Oklahoma! (PLOS), Urinetown (Williamstown), Blood Brothers (Manilla St–Chapel Off Chapel), Hair –2014 Tour (StageArt), Flowerchildren–the Mamas and Papas Story (Magnormos–Comedy Theatre), Young Australian Broadway Chorus (CPCA–National Theatre) and The Music Theatre Guild of Victoria Awards. Marcello has received awards for best sound for productions of Cats, Miss Saigon, Into the Woods and Sweeney Todd. In 2001 Marcello established the company LSS Productions, providing sound services to the theatre and live events industry. Away from theatre Marcello has engineered many studio and live recording projects. 42nd Street is Marcello’s third show with CLOC, following his work on our two 2013 productions The Phantom of the Opera and Guys and Dolls.

PAM CHRISTIE BIRKETT Pam is a powerhouse performer, whose every on-stage appearance has garnered acclaim, nominations and awards. Originally from Shepparton, Dorothy Brock she was nominated for three regional theatre awards and won three (for Chess, Evita and Les Miserables). While still in Shepparton, she also won RIC BIRKETT the Best Actress Music Theatre Guild award for her performance as the Baker’s Wife in Into the Woods (1996), again as now, playing opposite Julian Marsh husband Ric. Since relocating to Melbourne, she has performed in three previous CLOC productions and has the remarkable distinction of winning the Supporting Actress Guild Award for each of these performances (Amy in Company 1999, Countess Charlotte Malcolm in A Little Night Music 2000 and Mrs Lyons in Blood Brothers 2007). Between these performances, Pam took some time out to create and produce two other major productions – sons Michael and Daniel, now aged 12 and 9, and her biggest fans. In 2012, Pam bravely bared all for director Alan Burrows (and audiences!) as Annie in Brighton Theatre Company’s production of Calendar Girls. We are pleased to say that as Dorothy, Pam will bare nothing more than her inner diva, and we welcome her back to CLOC after a seven year break, with the added bonus of appearing with husband Ric as her on-stage nemesis. Ric, like his talented wife and co-star Pam, hails originally from Shepparton and comes to CLOC with stellar theatrical credentials, including four Goulburn Valley Georgy performance awards, a Bendigo Outstanding Performance Award and three Best Actor Music Theatre Guild nominations. After a range of lead roles in Shepparton (including Jean Valjean-Les Miserables, Anatoly-Chess, The Baker-Into The Woods appearing opposite Pam, Che-Evita, Judas-Jesus Christ Superstar), Ric and Pam relocated to Melbourne. They immediately both appeared in CLOC’s 1999 production of Company, and Ric also played Emperor Charlemagne in 2003’s Pippin. Between these two roles, Ric found the time to commute to Bendigo to do an encore award-winning season as Jean Valjean in Les Miserables. Since 2003, Ric’s legal career and family duties have kept him away from a CLOC stage, but the lure of being part of our 100th production, together with the added attraction of appearing as Pam’s on-stage sparring partner, was impossible to ignore, and what fun they have both had being rude to each other during rehearsals! MELANIE OTT Growing up on the Mornington Peninsula, Mel featured in several Peninsula based shows - four for Panorama (Singin’ in the Rain, Peggy Sawyer Pirates of Penzance, 42nd Street, A Chorus Line) and three for PLOS (Thoroughly Modern Millie, Grease, The Boy from Oz). For a complete change of geography, she has also worked for the outer east suburban based Fab Nobs (The Wedding Singer, Rent, Reefer Madness) and even for CenterStage in Geelong, where last year she was nominated for Best Supporting Actress as Holly in The Wedding Singer. Mel has also worked professionally, starring as Stephanie in two seasons of the world premiere production Grease 2, then playing Magenta in a two year national tour of Time Warp: A Musical Tribute to the Rocky Horror Show and most recently, an encore appearance as Mimi in Next Step’s production of Rent earlier this year at Chapel-off-Chapel. For CLOC, Mel charmed audiences as the slightly dim-witted and two-left-footed April in our premiere production of Hot Shoe Shuffle in 2008 (playing once more opposite Tim Cant), and then had a star turn as Natalie in 2012’s fabulous All Shook Up, receiving a Guild nomination for Best Actress. Peggy has always been a dream role for Mel, and with these three CLOC roles under her belt, Mel feels she has lived the dream with three of the highlights of her performing career. 6

TIM CANT For many reasons, this show is a lovely reunion and welcome back to CLOC for Tim. In 1996, while still at school, Tim appeared in only his second show, as a member of Billy Lawlor the ensemble of our first production of 42nd Street. He then went on to become one of our most talented, well-loved and highly regarded leading men in many of our biggest song and dance shows - the appropriately named Song and Dance (1997-dancer), Crazy for You (1999-Bobby Childs, nominated Best Actor Music Theatre Guild Awards), My One and Only (2002-Billy ‘Buck’ Chandler, nominated Best Actor and Best Dancer), Pippin (2003-Pippin, nominated Best Actor) and Hot Shoe Shuffle (2008). Work commitments in IT have prevented Tim from returning to a CLOC stage since then, although he has kept performing as part of the acapella quartet ‘Mint 26’, which consists of four CLOC alumni, who made it to the semi-final of Australia’s Got Talent in 2012, and perform regularly at corporate events. When CLOC announced 42nd Street as their 100th show, Tim could not resist the opportunity to get his tap shoes out of mothballs and return to where it all began, becoming reacquainted with Alan and Sue, with whom he has worked before, and also to be reunited with his old Hot Shoe Shuffle buddy James Rooney and most of all the lovely Melanie Ott, with whom he co-starred in HSS and shared so many special song and dance moments onstage. Coming back to CLOC and 42nd Street for the 100th show has been a very special reunion for Tim and for everyone lucky enough to share the stage with him. STEPHANIE POWELL Stephanie hails from Gippsland, and many of her early theatrical highlights were with Warragul Theatre Company, including Reno Sweeney in Maggie Jones Anything Goes (nominated for Gladys Moncrieff Award-Music Theatre Guild, and for Female Performer in a Leading Role-Gippsland Associated Theatre), Grace Farrell in Annie (nominated for Female Performer in a Supporting Role-Music Theatre Guild), Jennyanydots in Cats, Madame Thenadier in Les Miserables and ensemble in My Fair Lady. Just after Stephanie relocated to Melbourne, she appeared in CLOC’s Aspects of Love and last year, she played a number of roles in Babirra’s Annie, directed and choreographed by Alan/Sue. Steph is delighted to return to CLOC to be surrounded by so many familiar faces. SCOTT HILI Scott has straddled the worlds of professional and non-professional theatre for many years. Some of his professional roles have included Bert Barry the Sydney season of Billy Elliot, Sugar for the Production Company and Doctor Zhivago (original cast). Scott has also made his mark as a performer, choreographer, designer and director in the Melbourne music theatre scene. He has received several nominations for both Lyrebird and Guild awards for direction, choreography and set design (including Jesus Christ Superstar PLOS, Joseph … Dreamcoat Dandenong, There’s No Business Like Show Business Dandenong, Urinetown MUMCo). In 2006 he won Best Supporting Actor for his madcap performance as Lefou, in Whitehorse’s Beauty and the Beast. For CLOC Scott has appeared in A Chorus Line, The Scarlet Pimpernel, Miss Saigon, Sunset Boulevard, The Phantom of the Opera (where he played opera manager Monsieur Firmin), and most recently, his comic turn as Nathan Detroit in Guys and Dolls. Scott could not let the opportunity go by of taking on such a great role and being part of this special show with a company so near and dear to his heart. 7

RICHARD PERDRIAU Richard has performed in theatre since the 1980s. Recent credits include Miss Saigon (ensemble), High Society (George Kittredge) and Man of La Mancha (Governor/Innkeeper) all with CLOC, Pat Denning Kiss of the Spiderwoman (Esteban) with SHoosH!, Little Shop of Horrors (Mushnik) with Phoenix and The Drowsy Chaperone (Gangster 2) with Fab Nobs.  Richard has directed and designed two shows for Phoenix Theatre Company: Godspell in 2010 and Into the Woods in 2011. In 2012 he directed and set designed How to Succeed in Business Without Really Trying for MDMS, which won 5 Lyrebird awards, including direction, set design and Production of the Year. And last year, he again combined on and offstage activities by firstly being part of our Phantom of the Opera cast, then again taking up double direction/design duties for OSMaD’s highly praised and multi-award winning production of The Music Man, for which he was nominated for both a Music Theatre Guild award and a Lyrebird award for direction. MICHAEL HANLON By day, Michael is the Anglican minister at St John’s Church, Lilydale, better known as Reverend Hanlon, who has his own weekly and personal stage in which he performs solo to Abner Dillon his weekly congregation. By night, he is a recent convert to performing of a different kind, sharing a theatrical stage and spotlight with others, alternating between straight plays and musical theatre. This is Michael’s fourth production directed by Alan Burrows, after Calendar Girls (2012), The Light in the Piazza (2013) – both for Lilydale Athenaeum Theatre, and Babirra’s Annie (2013). He also appeared in Floyd Collins (Octave Theatre 2011) and in two more productions at Lilydale – ‘Allo, ‘Allo (2011), in which he played the delightfully named General von Schmelling, and M.A.S.H. (2012), where, in a piece of true typecasting, he played the much loved and revered Father Mulcahy. JAMES STUDDS UK born James is a recent arrival to both Australia and more particularly Melbourne, Mac where this show marks his Melbourne theatrical debut. However, in the UK, James ROBERT GRIFFIN has had extensive theatrical experience, playing a range of lead roles from Shakespeare Cameo Roles to Gilbert & Sullivan to a huge variety of musical theatre, including a much praised performance as Julian Marsh for The New Theatre Oxford’s production of 42nd Street in 2009. If that wasn’t enough, James has also been a member of three choral groups/choirs in Oxford/Coventry, and just for good measure was the lead performer in the James Studds Jazz Quartet. Rob has worked with CLOC for over 30 years in almost every capacity, both on and offstage, as well as in production and administration, including over 20 shows as Stage Director and Floor Manager, for which he is also doing double duty tonight! Rob has performed on-stage with CLOC in twelve shows (including Sweeney Todd, Into the Woods, Sunday in the Park with George, Gigi, Anything Goes, Barnum, Funny Girl, Can-Can and Dusty). He also served on the CLOC committee for six years, including several stints as Marketing Manager. Fittingly, Rob has been awarded CLOC Life Membership for his long‑standing and many-faceted contributions to the company. As well as his work with CLOC, Rob has also managed to squeeze in on and off stage roles for other companies over the years, including Whitehorse, Dandenong, Heritage, Babirra and even some professional staging work for corporate events, schools and theatre companies. Rob is one of four cast members returning for his second CLOC production of 42nd Street, after playing Abner Dillon in 1996. 8

JAMES ROONEY TAILEM TYNAN Andy Lee, Ensemble Ann Reilly, Ensemble As a (very young) performer, James Starting as a child, over 20 years joined CLOC in 1991 for Kiss Me Kate ago, Tailem has appeared in and/or followed by Can Can, Funny Girl, 42nd choreographed over 30 productions Street, A Chorus Line, Gotta Sing! Gotta with leading companies around Dance!, My One and Only, Chicago, Melbourne, including Whitehorse, Cats, and perhaps most memorably, Babirra, PLOS and Nova. A CLOC the role of Wing in 2008’s Hot Shoe veteran, she has appeared in eight Shuffle, for which he deservedly won previous productions, the first being the Music Theatre Guild Dancer’s Anything Goes in 2000, and including Award (performing Susan Lewis’ Chicago, Mack & Mabel, Steel Pier, award winning choreography in a Cats, SHOUT!, The Boy from Oz and breathtaking tap solo that many Miss Saigon. She was also Dance longer-term audience members will Captain for Hot Shoe Shuffle (so this remember). For other companies, show is a happy reunion for her and James has appeared in productions several other cast members) and of My One and Only, On the Town, her tenth CLOC production was as Anything Goes, Me and My Girl, La choreographer for High Society in Cage Aux Folles and The Producers. 2009. Tailem has trained, taught and Along with fellow cast members Tim adjudicated at various dance schools, Cant, Robert Griffin and Chris Rogers, with her specialty being tap, so she James shares the honour of having has definitely returned to CLOC to do worked on both CLOC productions of the right show! 42nd Street, and in fact he is playing the same role of dance captain and choreographer Andy Lee as he did last time - a role made for his talents, and not bad going for 18 years apart. NADIA GIANINOTTI Lorraine, Ensemble KATIE BULL Nadia is one very talented and busy lady who can do it all, whether it Phyllis, Ensemble be singing, dancing (all forms), Katie is one of the many former CLOC choreographing, acting or teaching. alumni who has returned after a Since 2000, Nadia has averaged 3 long break to help us celebrate our shows a year, performing at least 100th milestone production. From one of these roles (and often several 2002-6, Katie appeared in five CLOC simultaneously). The numbers productions (Chicago, My One and are staggering – 9 shows with Only, Mack & Mabel, Steel Pier, Whitehorse, 5 shows with ARC, Cats), while also appearing in big 4 shows with Catchment, as well song and dance shows with several as performances with Fab Nobs, other companies (Whitehorse, PLOS, MDMS, CenterStage Geelong, Babirra MumCo). Katie then moved into and Waterdale. Some of her recent straight plays, working with a number highlights include winning a Lyrebird of companies including Beaumaris award for Best Supporting Actress in Theatre, Williamstown Little Theatre a Musical as Nicki in Sweet Charity and including performances in the (Babirra 2010) and her hilarious Melbourne Fringe Festival. After a stint portrayal of diva Lina Lamont (the living and working overseas, Katie glamorous movie star with the awful returned to Melbourne in 2012. She speaking voice) in Geelong’s Singin’ in has been waiting for the right moment the Rain in 2012. Unbelievably, this is to return to her first love of singing and only Nadia’s second CLOC show, after dancing, and it has arrived with this The Boy from Oz in 2008. Welcome show - and Katie couldn’t be happier! back to CLOC, Nadia. 9

MATTHEW HADGRAFT KIRRA SIBEL JACQUELINE ADDISON LUCINDA BARRATT Oscar, Ensemble Gladys, Ensemble Ensemble Ensemble Matthew hails from Queensland, Having studied dance, voice and Jacqueline has danced since age A student of all forms of dance (ballet, where he has a music degree from the stage performance right through her five in a range of dance styles - tap, jazz, tap, contemporary) over the Queensland Conservatorium of Music. secondary years, it seemed only ballet and jazz - and has taught last sixteen years, Lucinda completed As well as playing a mean piano (as natural that Kirra would become tap and theatrical dance. Previous her Bachelor of Performing Arts at you will see tonight), he also plays a dance teacher, and she is now experience includes fashion parades, Monash University in 2012 and the organ, sings, dances, acts, does working at the South Melbourne Dance commercials, television shows, film is now working as an entertainer stand-up comedy work, is a voiceover Centre. Onstage, she has appeared in and stage shows. In 2009, she with the Entertainment Store. After artist, writer, composer, model – and BuST Co’s Bye Bye Birdie, JYM’s The choreographed and performed in the performances in Fab Nobs’ Spring a qualified primary school teacher. Witches of Eastwick and as Dance Liza Minnelli tribute show as part of Awakening, and Williamstown’s Phew! After playing in many cabarets, Captain in MUMCo’s Dirty Rotten the Ultimate Tribute at the Palms at stunning 2011 production of Chicago, musicals and straight plays in Scoundrels. Kirra first joined CLOC in Crown Casino. Jacqueline makes Lucinda appeared in the ensemble Queensland (including a seven year 2012 as part of our cast of All Shook a welcome return to CLOC after of both of CLOC’s 2012 productions, stint playing Benny Anderson in the Up, then headed overseas to do a appearing in our 2008 production of Sunset Boulevard and All Shook Up, ABBA Tribute band ‘Dancing Queen’), summer as Head of Dance at Camp The Boy from Oz, followed by Dusty in and then played Meg Giry in our Matthew relocated to Melbourne in Pembroke, in Massachusetts, USA, 2010. After a four year break, Jacqui premiere production of The Phantom 2012. He has since appeared with during 2013. was delighted to return on this special of the Opera last year. After taking a ARC (Singin’ in the Rain) and Nova occasion to be a part of another big break to complete her full-time music (42nd Street again!) and last year, he CLOC song and dance show and with theatre course, Lucinda couldn’t wait played nebbish producer Leo Bloom in 42nd Street, she has her wish. to rejoin her favourite company CLOC The Producers (MLOC). Matt is thrilled and have a big sing and (tap) dance. to be given the opportunity to share his many musical, dance and performing skills with CLOC audiences. COURTNEY DAVIES Ensemble Courtney is a second generation CLOC stalwart, who has been around CLOC all her life, as both her parents have been on the CLOC committee since before Courtney was born. Her father John is the current Treasurer, while mum Sandra is not only CLOC’s Administrator, but also the Stage Manager for tonight’s performance, so Courtney’s boss while in the theatre! Not surprisingly, Courtney has danced in several previous CLOC shows (Gigi, Mack & Mabel, Steel Pier, Shout!, All Shook Up), as well as shows for Whitehorse (Hello Dolly, Crazy for You, 42nd Street) and PLOS (Thoroughly Modern Millie). Courtney was so keen to be a part of this special production that she rearranged her Commerce/ Law university studies to enable her to participate. 10

MATT DILLON BRYCE DUNN LAURA GREEN CHRIS HIGGINS Ensemble Ensemble Ensemble Ensemble Matt is a graduate of both the Victorian Bryce is one of the few cast members Laura is one of the few cast Chris’ background in dance is College of the Arts and the Australian who makes his CLOC debut with this members who is new to CLOC with mostly in tap, having learnt at the Ballet School. He then worked with show – and what a perfect show to this production. A hairdresser by Stonnington School of Dance for 15 the Melbourne Dance Theatre and the start with, given that he is a teacher day, Laura is a trained singer and years. He is also a mean acrobat, and Dancers Company, before taking up with Glamour Puss Studios, teaching especially dancer, with 15 years is currently studying at the National performing and teaching positions adults intermediate/advanced tap. dance experience in all styles, Institute of Circus Arts (NICA). As part with the Royal New Zealand Ballet Bryce has performed as a dancer at particularly tap. She has appeared in of this course, Chris performed circus and the Maximeal Dance Company in various corporate and professional several big dance shows, including A acts alongside 3,000 secondary Edinburgh, Scotland. This is Matt’s first events (including the Royal Melbourne Chorus Line, Footloose and Seussical school students in last year’s Victorian foray into the world of musical theatre Show and the Myer Christmas (all with Whitehorse), Cats (MLOC) State Schools Spectacular. His first and what a show to start with. And in Parade), and has even performed and The Producers (JYM). In 2009, musical was with PLOS, where he case you are wondering, Matt is not (without a football) at the AFL Laura made the top 100 of So You played Macavity in Cats (2011) and related to our onstage sugar daddy Grand Final! By day, Bryce works in Think You Can Dance. And with us, he then appeared in two productions Abner Dillon! disability, so tapping is a great outlet here she is as part of the final twelve with Panorama (Footloose and after the demands of his job. chosen to tap and sing for your Cinderella). Chris was so keen to be a entertainment, which Laura intends to part of this production that he applied do with pleasure and gusto. and booked his audition from New York, where he was seeing the REAL 42nd Street! NATHANIEL LAMOND Ensemble Nathaniel is the owner/director of the Australian Academy of Dance in Malvern, teaching classical ballet, contemporary, jazz and tap. He has worked as a dancer and model on television, for corporate events, in music videos, for Disney (in Australia and South-East Asia) and for Princess Cruise Lines, where he worked for four years as a featured dancer on cruise ships. Nathaniel made his music theatre debut in CLOC’s 2010 production of Dusty, and followed this up with an appearance in the cast of Kiss of the Spiderwoman for SHooSH productions (2011), CLOC’s All Shook Up (2012) and last year’s Guys and Dolls. Nathaniel was cast in our 1996 production of 42nd Street, but had to reluctantly drop out because of his dancing/ studying commitments. After patiently waiting all these years, he finally has a chance to complete the interrupted journey he started 18 years ago. 11

42nd Street began life as a 1933 Warner Brothers film musical as a last minute replacement when the actress playing Peggy Sawyer starring Ruby Keeler as Peggy Sawyer, Dick Powell as Billy Lawlor, was on vacation, and her understudy was ill. As fate would have it, and featuring a very young Ginger Rogers as Ann “Anytime Annie” one of the show’s producers happened to be in the audience that Lowell. Direction was by Lloyd Bacon and choreography by the night, and was so impressed with Zeta-Jones that she was soon cast legendary Busby Berkeley, who was responsible for 20 minutes of permanently in the role – and the rest, as they say, is history. his signature over-the-top production numbers within the movie. The The show received a rewritten revival on Broadway in 2001, running movie was nominated for the Academy Award for Best Picture of for 1,524 performances, and this rewritten version toured the UK and 1934, and in 2006, was ranked 13th on the American Film Institute’s Asia in 2007-8. list of best musicals. An Australian production was mounted in 1989 featuring Leonie Page In 1980, producer David Merrick took a huge gamble in deciding to as Peggy Sawyer, Todd McKenney as Billy Lawlor, as well as Nancye transfer this original movie musical to the stage. Merrick engaged Hayes and Toni Lamond, and in 2007, the Production Company in talented director-choreographer Gower Champion, who had no tap Melbourne staged a cut-down version starring Lucy Durack as Peggy, training, but brought to life one extravagant tap number after another, and featuring comedian Alan Brough, Adam Murphy, Nicki Wendt, starting with the famous opening of 40 pairs of tap dancing feet Melissa Langton and even a cameo from ex‑Carlton footballer Anthony behind a slightly raised red curtain. Unbeknownst to most, Gower Koutoufides! Champion was suffering with a rare form of blood cancer when he CLOC’s 1996 production remains one of our most successful seasons took on this assignment, and in one of those legendary pieces of ever. Staged at The Alexander Theatre at Monash University, and Broadway folklore, died on the morning of the opening night of the directed/choreographed by Alan and Susan, the production broke show, on August 25 1980. Producer Merrick asked Champion’s attendance records for the time and won Guild awards for Susan’s family to keep the news secret from everyone, including the show’s choreography (restaged in this version) and for lighting. Four of our cast (and leading lady Wanda Richert, who played Peggy Sawyer and cast members tonight were a part of that 1996 production, including was Champion’s girlfriend at the time). During the enthusiastic curtain a young 18 year old school boy Tim Cant, who auditioned and calls, he came onstage and melodramatically made the shocking performed as part of the ensemble in that production. Since then, of announcement amidst the applause. “No, no. This is tragic. You don’t course, Tim has gone on to play lead roles in six more CLOC shows understand. Gower Champion died this morning.” Applause turned and now returns as the romantic lead in his 8th CLOC show – really a instantly to gasps and screams from both audience and cast. 42nd Street became both David Merrick’s and Gower Champion’s true reflection of what CLOC is greatest success, running nine years (3,486 performances) on all about. Broadway, and winning Tony awards for Best Musical and a posthumous award for Champion for Choreography. There followed a West End production (1984), which became famous for life imitating art when chorus member Catherine Zeta-Jones was plucked out of the ensemble 12

CLOC MUSICAL THEATRE INC Has Proudly Presented :- 2014 42nd Street 1997 Song & Dance 1980 Oklahoma! Chess La Belle Helene 2013 The Phantom of the Opera Guys and Dolls 1996 42nd Street 1979 Guys and Dolls City of Angels Gypsy 2012 Sunset Boulevard All Shook Up 1995 Barnum 1978 Half a Sixpence A Funny Thing Happened Oliver! 2011 Fiddler on the Roof on the Way to the Forum Aspects of Love 1977 Fiddler on the Roof 1994 Into the Woods My Fair Lady 2010 Dusty : The Original Pop Diva Man of La Mancha 1993 Funny Girl 1976 Annie Get Your Gun Les Miserables White Horse Inn 2009 Miss Saigon High Society 1992 Can-Can 1975 The Merry Widow Sunday in the Park with Can-Can 2008 The Boy from Oz George Hot Shoe Shuffle 1974 La Vie Parisienne 1991 Sweet Charity Kiss Me Kate 2007 SHOUT! The Legend of the Kiss Me Kate Wild One 1973 Naughty Marietta 1990 Carousel Kismet Blood Brothers Mame 1972 The Desert Song 2006 The Scarlet Pimpernel 1989 George M! Song of Norway Cats Silver Celebration 1971 Carousel 2005 Jekyll & Hyde 1988 Bye Bye Birdie Die Fledermaus Steel Pier 1776 Only an Orphan Girl 2004 Mack & Mabel 1987 Pajama Game 1970 Orpheus in the Underworld Evita The Music Man 2003 Gigi Pippin 1986 Cabaret 1969 Iolanthe Follies Brigadoon 2002 Hot Mikado My One and Only 1985 South Pacific 1968 Oklahoma! Annie 2001 West Side Story 1967 The Gondoliers Chicago 1984 Something to Sing About The Vagabond King Irene 2000 Anything Goes Foiled by an Innocent Maid 1966 Trial by Jury A Little Night Music The Sorcerer 1983 Sweeney Todd 1999 Gotta Sing! Gotta Dance! Orpheus in the Underworld 1965 Yeoman of the Guard Crazy for You The Mikado Company 1982 Robert & Elizabeth No No Nanette 1964 The Pirates of Penzance 1998 Singin’ in the Rain A Chorus Line 1981 How to Succeed in Business Without Really Trying Hello Dolly! 13

CELEBRATING 1964 - 14

50 YEARS - 2014 15

HISTORY OF CLOC MUSICAL THEATRE 1964 – 2014 CLOC Musical Theatre began as the Cheltenham Light Opera Company, and The 1990s had seen the company begin to focus on enhancing the its early years were dominated by Gilbert and Sullivan with the first production professionalism of its management team, particularly with respect to the being The Pirates of Penzance in 1964. Four years later, the company staged delivery of new marketing strategies, the expansion of the hire business and an ambitious production of Oklahoma! and in 1971 after more than two years the introduction of computerised systems for ticketing, audition bookings, of planning, the committee made a most momentous decision. Carousel would volunteering and so on. be the last show to be performed in a school hall. In future, audiences would The end of the decade also saw the beginning of a further growth phase see the company’s productions in a venue more suited to CLOC’s vision for the as work commenced on the construction of CLOCworks, an impressive future; Monash University’s new state-of-the art, 500 seat Alexander Theatre. purpose-built facility for set construction and storage located at Kingston. Although the move to the Alexander Theatre had been undertaken with some Within just a few years the company’s technical capacity at Kingston was degree of trepidation, the outcome was to prove hugely successful for the enhanced with the development of a new Costume Resource Centre. In 2010, company, significantly enhancing its reputation and status. Having made the the realisation of a long-held ambition was achieved with the opening of CLOC transition to a purpose-built theatre, the company began building its list of Central, a former Girl Guides Hall in Moorabbin which had been refurbished to patrons and a solid base of very talented and dedicated volunteer workers. serve as a dedicated rehearsal facility. In 1983, CLOC stunned the theatrical world (both professional and Completed for West Side Story, the enormous value of the investment in non-professional) by taking the bold and unprecedented step of mounting the CLOCworks was soon evident in terms of significant improvements to the Australian premiere of Stephen Sondheim’s Sweeney Todd – a ground breaking overall quality of productions and the number of volunteers able to work production which would represent the beginning of another stage in CLOC’s effectively. Subsequent use of the Costume Resource Centre and CLOC Central development. for rehearsals has also proved highly successful as is evident from the A decade of growth through the 1980s had also been a period of experimentation company’s increasing focus on professionalism. for the company – one that had begun with Robert and Elizabeth in 1982 and In focusing on the question of how best to secure the long-term future of the concluded with Sunday in the Park with George ten years later. There had company, the committee had also been faced with issues relating to the hire been profitable audience favourites, a number of premieres and a spectacular of the Alexander Theatre and the consequences of various pressures being concert to mark CLOC’s silver anniversary in 1989. When interviewed by the exerted by the university. Specifically, in early 2009 CLOC was notified that Moorabbin Standard for an article that outlined the company’s progress, new their future hire of the Alexander Theatre would be conditional on Monash President Grant Alley reported that ‘although the coffers have run low at times selling all tickets, a service for which CLOC, and its customers, would incur and some shows cost up to $80,000 to mount, CLOC has always managed significant costs. Given the company’s long history of independence, resilience to stay solvent.’ This, he believed was attributable to the company’s ability to and strong vision for its future, the committee unanimously agreed that CLOC adapt to changing trends in music theatre and had been the key to CLOC’s would not surrender its independence and would be moving its operations to continued success over the years. Whereas in the early church choir days the National Theatre in St Kilda. CLOC had been known for the excellence of its chorus work, newer musicals Over 50 years CLOC has faced many challenges, each of which has provided called for people who could act and dance as well as sing. As song and an opportunity for the company to grow and evolve into the success story that dance routines were incorporated into scores so the profile of cast members is has become. What began in 1964 with a small group of enthusiasts who began to change. Indeed, by the beginning of the 1990s, so professional were got together to stage a production of The Pirates of Penzance has evolved CLOC’s productions that the company had become a stepping stone for many into what is undoubtedly a very professionally managed non-professional performers wanting a career in the theatre. music theatre production company. The staging of one hundred shows, the The first edition of company newsletter CLOCTimes for 1993 bought some acquisition of dedicated set-building, costume making and rehearsal facilities very exciting news. CLOC was to stage the first non-professional production in and a plan to future-proof the company represents an extraordinary record of Australia of Les Misérables. Following the very high standard of the previous achievement. two shows, CLOC had been ‘especially selected’ to do this hugely popular new In looking back from the standpoint of 2014, it is important to recognise that musical. much of CLOC’s success can be attributed to the calibre of the people it has The year had also seen an upgrading of the company’s hire business. In been able to attract. More than anything, CLOC owes an enormous debt to all addition, some space for the storage was secured at Chadstone High School those individuals who have, at various times, worked to make a shared vision which enabled scenery and excess materials to be moved from the McKinnon a reality for what might be achieved in music theatre. CLOC’s success is also Road workshop, while costumes were relocated to space adjacent to the attributable to you, our loyal customers. It has been this ongoing support and rehearsal hall in Brewer Road. A weekend devoted to strategic planning had commitment that has seen the company progress from very small beginnings been very beneficial in clarifying some of the key issues relating to future to what is now an unrivalled position in music theatre production. directions and had seen the development of a Mission Statement stating that Dr Susan Johnston BA (Hons), PhD the company aimed: ‘To set the pace in the production of non-professional CLOC Historian music theatre of the highest quality within the resources of all involved and to ensure the long-term viability of CLOC Musical Theatre’. 16

It is 1933, at the height of the Great Depression. Dance auditions are being held for Broadway’s newest show, Pretty Lady. Young, innocent and naïve Peggy Sawyer, fresh off the bus from Allentown, Pennsylvania, arrives late and is so nervous that she misses the audition, but catches the eye of Billy Lawlor, the show’s romantic lead. He manages to wangle an audition for Peggy with Julian Marsh, the show’s legendary director, but Peggy’s nerves get the better of her and she only manages to aggravate the already gruff Mr Marsh, who waves her away. Mr Marsh is worried about the show’s leading lady. Dorothy Brock is a prima donna who has not had a hit show for ten years, but has been cast due to the influence of Abner Dillon, her rich and much older boyfriend, who is financially backing the show. Dorothy is indignant that she has been asked to audition for a role, so it is left to Maggie Jones and Bert Barry, the show’s co-writers and producers, to reassure both Dorothy and Julian about the show’s prospects. Peggy returns to the theatre to retrieve her purse, which she has forgotten. She meets Maggie and three of the chorus girls from the show – Annie, Phyllis and Lorraine – and they invite her to join them for lunch. They encourage her to show them a dance routine that is witnessed by Julian, who decides there might be room for one more chorus girl in the show after all. Rehearsals begin, with misadventures and misunderstandings, both on and offstage, among the cast, writers, producers and director. Finally, opening night arrives with spectacular success until Peggy trips and crashes into Dorothy, knocking her to the stage and leaving her with a broken ankle. Julian immediately fires Peggy and cancels the rest of the performance. Without a leading lady, the show looks like closing. However, Peggy’s friends in the chorus are certain that she can sing and dance well enough to take over the lead role. Persuaded to give her a go, Julian rushes to the train station to catch Peggy who is about to return to her home in Allentown. Using his best persuasive powers, Julian, together with the entire Pretty Lady cast, convinces Peggy to return to take on the role. Peggy has exactly 36 hours to learn 25 pages of dialogue, 6 songs and 10 dance numbers. She is on the verge of a nervous breakdown when she has an unexpected visit from Dorothy, who offers advice and encouragement. The opening night curtain is about to rise. Julian urges Peggy on with the immortal line “You’re going out there a youngster, but you’ve got to come back a star!” The show is a huge success and Peggy is the new toast of Broadway….”Come and meet those dancing feet on the avenue I’m taking you to - 42nd Street!” 17

JASON MILL CLAIRE ROBINSON CHRIS ROGERS JON SEBASTIAN Ensemble Ensemble Ensemble Ensemble Jason has experience as a performer Claire is one of the many Kiwi Chris is a CLOC and musical theatre Jon and CLOC have a long shared in theatre, opera, television, film, performers who seem to make veteran, having appeared in over history, which spans the last sixteen commercials and even as a Disney CLOC their first stop after making the 40 productions over the last 28 years. After initially joining CLOC to performer in Hong Kong and Taiwan. move across the Tasman. She has years, including eight previous CLOC star as Don Lockwood in our 1998 In recent years, he has played roles studied, taught, choreographed and productions (Funny Girl, Barnum, production of Singin’ in the Rain in Grease (Roger), The Wizard of Oz adjudicated dance, both here and in 42nd Street, A Funny Thing...Forum, (directed and choreographed by Alan/ (Scarecrow), Cats (Rum Tum Tugger), New Zealand, and was also a gym Crazy for You, Shout!, All Shook Susan), Jon then proceeded to appear West Side Story (Action) and Fiddler instructor for seven years with the Les Up and most recently, Guys and in four more CLOC productions over on the Roof (Perchick). In 1999, Mills program. She performed many Dolls). Chris was also a regular the next ten years – A Chorus Line, Jason performed in CLOC’s Crazy for roles in music theatre in New Zealand participant in Whitehorse Musical Jekyll & Hyde, The Scarlet Pimpernel, You, and after a fourteen year break, (most recently, Bombalurina in Cats) Theatre productions (eight, including and he starred as Peter Allen in our he returned to CLOC to appear as before relocating to Melbourne in one memorable turn as Cinderella’s 2008 premiere production of The Benny Southstreet in last year’s Guys 2010. She now works as an office ugly step-sister during their summer Boy from Oz. Interspersed with these and Dolls. This season has been very manager in a legal recruitment pantomime), and has also worked shows were lead roles with several special for Jason as he took time out company, as well as a freelance with many other companies around other major companies (including from rehearsals to marry fellow cast dance and gym instructor. Claire’s first Melbourne, from SLAMS (Hairspray) Lumiere in Beauty and the Beast, the member Ashley Tynan (who he met theatrical appearance in Melbourne to Nova (Hello Dolly) to Mountain German tenor in The Producers, and when they both appeared in Babirra’s was as part of our corps de ballet in District (How to Succeed..) to MDMS Zoser in Aida, all for Whitehorse). He West Side Story). So with Jason, and our world non-professional premiere (Fiddler on the Roof). He has even then relocated to Sydney for work for both Ashley and her sister Tailem in production of The Phantom of the dabbled in straight dramatic theatre three years, returning to Melbourne the cast, this show is a real family Opera. She is thrilled to have the (The Front Page, One Flew Over the just in time to have a full 2013 affair for the Mill/Tynan clans. And to opportunity to do another CLOC show Cuckoo’s Nest) and backstage work, schedule, firstly as Monsieur Reyer add to the family connection, Jason’s on such a special occasion. but keeps returning to his first love of in our production of The Phantom of older brother Andrew appeared in our dancing front of stage. Chris is extra the Opera, followed by the romantic 1996 production of 42nd Street ! thrilled to have appeared in both CLOC lead Sky Masterson in Guys and Dolls. productions of 42nd Street – an honour Jon is delighted to have the chance he shares with fellow cast members to do what he loves best – sing and dance – in his eighth Tim Cant, James Rooney and production with a company Robert Griffin. with which he feels such a close connection. 18

JODIE SYMES JACK TURNER ASHLEY TYNAN-MILL CARLY WATSON Ensemble Ensemble Ensemble Ensemble Over the last twenty years, Jodie has Jack is new to CLOC but familiar to Ashley and her sister Tailem are Carly is one of our younger and newer performed with many of Melbourne’s director Alan Burrows, who cast Jack both multi-talented and prolific cast members who was a baby when theatre companies including PLOS in lead roles in several of the major performers, who have been regular we last staged 42nd Street in 1996. (Cabaret-Kit Kat Girl, Thoroughly musicals that Alan directed at Parade features of the Melbourne music Carly has learnt dance at the May Modern Millie-Priscilla Girl, Grease- College, Bundoora (including The theatre scene for over 20 years, Downs School since being a toddler, Sandy and Hairspray-Velma von Wizard of Oz, The Sound of Music, when they both started as children. has specialized in tap and pointe Tussle), MLOC (How to Succeed...- Oklahoma!, Jekyll & Hyde). Since Ashley has chalked up nearly 30 work and has also learnt singing Miss Krumholz, Finian’s Rainbow- graduating from high school, Jack has productions as either dancer, actor or (from Gabi Thompson) and acting. Sharon, The Pajama Game-Babe), gone on to appear in three productions choreographer. For many years, she Carly is now teaching all forms of Nova (­Anything Goes-Angel), Babirra with Waterdale - Annie 2010, Parade was a staple member of Whitehorse dance and musical theatre classes (Guys and Dolls-Hot Box Dancer) 2011, and in 2012, he won the Musical Theatre, appearing in 11 at two ballet schools, including at and Beaumaris (I Love You, You’re Music Theatre Guild award for best productions, as well as working with her old alma mater May Downs. Perfect, Now Change-Guild award- junior in an open production for his almost every other major company, For someone so young, Carly’s Best Ensemble). Jodie has played enonymous portrayal as Jack in Into including Babirra, Nova, Fab Nobs, performing CV is extensive, including lead roles in two previous CLOC the Woods. Also in 2012, he appeared Williamstown, Dandenong and shows performed at Disneyland and productions – SHOUT! (2007, when as Fender in Catchment’s production CLOC (The Boy from Oz 2008). Universal Studios in California, in she played JOK’s German wife of Hairspray. One of Ashley’s highlights was her both 2008 and 2010, lead roles in Marianne) and the title role in Dusty involvement with Babirra’s West Side her school productions over several (2010). Jodie has also dipped her Story in 2011, when she not only years (to which she has now returned toe into the world of dramatic theatre played the role of Anybodys, but also as assistant choreographer/director) by playing the lead role of Olive in co‑choreographed, for which she and most recently, she performed the Heidelberg’s 2012 production of won the Music Theatre Guild award role of Zaneeta in the award-winning The Summer of the 17th Doll. for Choreography. And this show was production of The Music Man for even more special for Ashley as this OSMaD in 2013 (directed by cast was where she met her gorgeous new member Richard Perdriau). husband Jason Mill, with whom she is once again sharing the stage tonight. And as an added bonus, Ashley also gets to appear with both her best friend Nadia Gianinotti and her sister Tailem, to make it a real family affair. BLAIR SALMON Ensemble Blair’s day job is as an IT consultant. But his real passion is tap dancing, which he discovered as an adult 6 years ago and has pursued since. He has danced with the legendary Isabelle Ryan and her Academy of Tap, and with The Space Dance Studio. He has performed in tap reviews and last year, as a featured tapper in ARC’s production of Singin’ in the Rain. We welcome Blair for his first CLOC show on such a momentous occasion. 19

PRINCIPALS Dorothy Brock THE COMPANY Andy, Ensemble Nadia Gianinotti Lorraine, Ensemble Julian Marsh Ann Reilly, Ensemble Matthew Hadgraft Oscar, Ensemble Pam Christie Birkett Peggy Sawyer James Rooney Phyllis, Ensemble Kirra Sibel Gladys, Ensemble Ric Birkett Billy Lawlor Tailem Tynan Melanie Ott Maggie Jones Katie Bull Ashley Tynan-Mill Tim Cant Bert Barry Carly Watson Stephanie Powell Pat Denning Jacqueline Addison Laura Green Chris Rogers Scott Hili Abner Dillon Lucinda Barratt Chris Higgins Blair Salmon Richard Perdriau Mac Courtney Davies Nathaniel Lamond Jon Sebastian Michael Hanlon Cameo Roles Matt Dillon Jason Mill Jodie Symes James Studds Bryce Dunn Claire Robinson Jack Turner Robert Griffin Conductor Bev Woodford Keyboard Martine Wengrow Reed 1 Cara Taber/James Bradley Reed 2 Glenn Taylor/Hayley Blakiston Reed 3 Andrew Houston/Stuart Colhoun Reed 4 Michelle Brown Reed 5 Shane Simpson Trumpet 1 Miles Izzo/Chris Eury Trumpet 2 Jack Earle/Tony Sutherland Trumpet 3 Sue Cook/Rob Rizzo Trombone 1 John Beckley Trombone 2 Jonty Smith French Horn Harry Majman Guitar Alexandra Velasco Bass Guitar Darren Steel Drums/Percussion Bryn Bowen 20

ACT I ACT 2 Scene 1: Stage of the Forty-Second Street Theatre, New York 1933 Scene 1: Stage Door, the Arch Street Theatre Audition for Pretty Lady .............................. Andy & Company There's a Sunny Side to Ev'ry Situation ......... Annie & Company Young and Healthy .................................... Billy & Peggy Shadow Waltz .......................................... Maggie, Dorothy & Girls Scene 2: Broad Street Station, Philadelphia Shadow Waltz Reprise ............................... Dorothy Lullaby of Broadway .................................. Julian, Billy, Andy, Mac, Annie, Phyllis, Lorraine, Maggie, Scene 2: The Gypsy Tea Kettle Abner & Company Go Into Your Dance ................................... Maggie, Peggy, Annie, Phyllis, Lorraine & Andy Scene 3: Backstage, The Forty-Second Street Theatre Montage .................................................. Julian, Peggy, Andy & Ensemble Scene 3: Stage of the Forty-Second Street Theatre You're Getting to be a Habit with Me ............ Dorothy, Billy, Peggy & Company Scene 4: Peggy Sawyer's Dressing Room About a Quarter to Nine .............................. Dorothy & Peggy Scene 4: Dorothy Brock's Dressing Room Scene 5 Opening Night of Pretty Lady, The Forty-Second Street Theatre Scene 5: Stage of the Forty-Second Street Theatre Shuffle Off to Buffalo .................................. Bert, Annie Maggie & Girls Getting Out of Town ................................... Maggie, Andy, Pat & Company Forty-Second Street .................................... Peggy, Billy and Company Scene 6: Stage of the Arch Street Theatre, Philadelphia Scene 6: On-Stage immediately following the performance of Pretty Lady Dames ..................................................... Billy & Ensemble Forty-Second Street Reprise ........................ Julian Scene 7: The Regency Hotel & Dorothy Brock’s Room, Philadelphia I Know Now ............................................. Dorothy & the Barflies Scene 8: Pretty Lady Opening Night, The Arch Street Theatre I Know Now (reprise) ................................. Billy & the Girls We're in the Money .................................... Annie, Peggy, Phyllis, Lorraine, Billy & Company Forty-Second Street .................................... Dorothy, Peggy & Company 21

CLOC Patron DIRECTOR : Alan Burrows PROPS CO-ORDINATOR : Beth Stryk MUSICAL DIRECTOR : Bev Woodford ASSISTED BY : Karen Greenwood, Jodie Lawson, CLOC Musical Theatre John-Michael CHOREOGRAPHER : Susan Lewis Sarah Nichols, Tegan Vincent is a member of the Howson ASSISTANT DIRECTOR/ASSISTANT CHOREOGRAPHER: DRESSING OF PULLMAN TRAIN CAR : Karen Warrington Music Theatre Guild OAM James Rooney of Victoria PRODUCTION MANAGER : Debbie Osborne STAGE CREW : Michael Bates, Gordon Bull, Heidi Crook, TECHNICAL DIRECTOR : Grant Alley Rosie Curtis, Emily Daniel, Michael Devon, Craig Dixon, CLOC Committee Members STAGE MANAGER : Sandra Davies David Hobbs, Nikki Imberger, Matt McLaughlin, ASSISTANT TO THE DIRECTOR : Debbie Osborne Jackie Mates, Bianca Milewski, Giulio Segatti, President Administrator Ian Simmonds, Alison Smith, Natalie Vincent, Grant Alley Sandra Davies CO-SET DESIGNERS : Graham McGuffie, Neville West, Erin Williamson Merinda Backway Secretary Treasurer SET PAINTING, THEATRE & STREET BACK CLOTHS : THANKS ALSO TO : Michael Curtis, Rohan Fotheringham, Barry Venning John Davies Graham McGuffie, Merinda Backway Jackson Harnwell, Mark Houghton, Sarah Lawson, BROADWAY CLOTH : Chris White Peter Leed, Fyfe Meggs, Thomas Out, Craig Symons, Committee Committee NEW YORK SKYLINE CLOTH : Barry Pearce Peter Thompson, Michael Vayro Patsi Boddison Janet Cameron BASE PAINTING : Naomi Boddison-Gray, Tina Boddison-Gray WORK EXPERIENCE STUDENTS : Anisa Akkusoglu, Committee Committee TECHNICAL DESIGNER : Grant Alley Kathrine Gale, Jake Kirby Carol Humphrey Debbie Osborne SET CONSTRUCTION : Grant Alley ASSISTED BY : Patsi Boddison, John Davies, MARKETING CO-ORDINATOR : Sandra Davies Michael Devon, Tony Hall, David Hobbs, MARKETING TEAM : Grant Alley, Craig Dixon, Malcolm Lutchner, Peter Turley, Michael Vayro, Karen Greenwood, Jackie Mates, Bianca Milewski, Barry Venning Cameron Osborne, Jon Sebastian, Jan Sheppard, Trudi Sheppard, Frank Simcox, Peter Stanbrook SOUND DESIGNER : Marcello Lo Ricco (LSS Productions) WEBMASTER & FACEBOOK : Craig Dixon SOUND OPERATOR : Nick Liley PROGRAM : Sandra Davies, Karen Greenwood, RADIO MICROPHONE TECHNICIAN : Dana Samuel Cameron Osborne ASSISTED BY : Natalie Coleman PROGRAM GRAPHIC ART/DESIGN : David Clark at SOUND EQUIPMENT : LSS Productions Pty Ltd The Wizarts PHOTOGRAPHY : Richard Crompton, Carlos Ramirez, LIGHTING DESIGNER : Brad Alcock (BAAC Light) Denise Damianos LIGHTING BOARD PROGRAMMER : Brad Alcock PRINTING : Fineline Printing LIGHTING BOARD OPERATOR : David Boddison-Gray ADMIN SUPPORT : Janet Cameron, Karen Greenwood, FOLLOW SPOT OPERATORS : Patsi Boddison, Debbie Osborne Tina Boddison-Gray SET ELECTRICS : David Boddison-Gray TICKET SALES : Carol Humphrey, Cheryle Osborne, LIGHTING CREW : Brad Alcock, Patsi Boddison, Malcolm Lutchner, Peter Miller, Carol Pratt, Jan Sheppard David Boddison-Gray, Matthew Silk and Linda Hum FRONT OF HOUSE CO-ORDINATOR : Meryl Withers of The National Theatre BOX OFFICE MANAGERS : Grant Alley, Barry Venning ASSISTED BY : Carol Humphrey, Cheryle Osborne COSTUME DESIGNER : Victoria Horne DUTY MANAGERS : Ian Carlsson, Jan Sheppard, COSTUME CO-ORDINATOR : Melinda Peebles Meryl Withers, Peter Witney COSTUME CONSULTANT : Nancy Matthews CATERING : Paul Belli, Tony Hall, Kelly Hall, ASSISTED BY : Carol Humphrey, Allan Paul Lincoln Judd, Maggie Judd MILLINERY : Tina Scott FIRST AID : Ian Simmonds ASSISTED BY : Laura Dunnington, Denia Emerson, REHEARSAL PIANISTS : Jack Earle, Danny Forward, Zoe Thompson Ben Martin, Phil Scanlon, Krystal Tunnicliffe, Tim Verdon, COSTUME ASSISTANTS : Liz Campbell, Jacqueline Day, Martine Wengrow Lorna English, Deidre Ericksen, Eva Fabian, Mary Fraser, Delwyn Poyser, Carol Pratt, Shelley Scott, Cheree Sexton, ACKNOWLEDGEMENTS : Liz Stoyanova, Lynette Strickland, Isabelle Turnbull, Thanks to Assistant to the Treasurer – Mike Strahan Blanche White, Kelly Windle, Susan Windle Thanks to all friends of CLOC who work Front of House Thanks to the staff of The National Theatre WIG DESIGN & MAKE-UP CONSULTANT : Jodie Drago Thanks to Frank Simcox for Audio-Visual Services ASSISTED BY : Natalie Della Grazia CLOC acknowledges the support of Wendy Black from WIG & MAKE-UP TEAM : Jenny Barratt, Sarah Bielefeld, Swinburne University of Technology Niki Kirevski, Chloe Ledgerwood, Sarah McGreevy, CLOC acknowledges the support of the City of Kingston Erin Williamson Committee Committee STAGE DIRECTOR : Bernard Hedger Allan Paul Melinda Peebles ASSISTANT STAGE MANAGER : Gemma Hedger FLOOR MANAGERS : Paul Belli, Robert Griffin FLY MANAGER : Tony Hall ARMOURER : Len Steel assisted by Craig Dixon CLOC Musical Theatre DRESSERS’ CO-ORDINATOR : Melinda Peebles PO Box 3250 Mentone East Vic 3194 ASSISTED BY : Janet Cameron, Hannah Campbell, Rebekah McLaughlin, Allan Paul, Shelley Scott, Ticket Enquiries: 1300 362 547 Natalie Trionfi, Karen Warrington Web: www.cloc.org.au Email: [email protected] 22

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CREATIVE FRAMERS CLOC releases Est. 1983 That's Entertainment! CLOC Musical Theatre Proudly sponsors CLOC 1964-2014 115 Highbury Rd., Burwood Ph: 9888 8225 Selling at $10 in the foyer of the OPEN MONDAY ~ SATURDAY National Theatre during 42nd Street. 9am ~ 5pm From June the publication will be available PICTURE FRAMERS-RESTORERS-LIMITED online from www.cloc.org.au at $15 per AND OPEN EDITION PRINTS copy postage and handling. EnteTrthaaint’ms ent! As part of CLOC's 50th Anniversary Year in 2014 we have commissioned the writing of our history by Dr Susan Johnston BA (Hons), PhD. Susan has researched the goldmine of documents, minutes, press cuttings, programmes and personal interviews that CLOC has managed to accumulate. The result is an exciting project culminating in the publication of That's Entertainment! CLOC Musical Theatre 1964-2014. We hope you enjoy reading the exciting story of CLOC's history and share with us this proud 50 years of musical theatre. The Astor Theatre is a proud sponsor of CLOC Musical Theatre For What’s On at the Astor Theatre, download the movie calendar at: ASTOR THEATRE LOGO DESIGN www.astortheatre.net.au Charlie Kinross GRAPHIC DESIGN / ILLUSTRATION / PHOTOGRAPHY www.charliekinross.com.au / charlie@charliekinro Phone: 9510 1414 Cnr Chapel St and Dandenong Rd, St Kilda Quality printing, on time and within budget COHSITRUEME Fineline Printing is a commercial sheet fed print company which Thousands of costumes, stage props and has been in operation for 25 years, establishing a reputation for furniture. From Sullivan to Sondheim You the supply of high quality printed products at competitive rates. know the standard of our costuming! Short turnaround times and timely delivery have been instrumental in the creation, retention and further development 1R3i0ng0Al8la2n 6now7o8n8 of our business partnerships. Fineline Printing’s success is directly attributable to the skill and experience of our highly 25 qualified personnel, state-of-art machinery and our ability to provide the total package from design to execution and beyond. – Contact: Customer Service Ph: 03 8791 4200 Email: [email protected] – Coverage: Australia wide – Full Contact Information: Fineline Printing Australia Pty Ltd 130 Browns Road Noble Park North, Vic 3174 Ph: (03) 8791 4200 Fax: (03) 8791 4277 Email: [email protected] www.finelineprinting.com.au print �olution� creative print �olution� creative Dei^dc&\"GZeZVieViiZgc

A DAY IN THE LIFE OF MELBOURNE Great talk – morning, noon and night. Ross Stevenson & John Burns Neil Mitchell Denis Walter Tom Elliott Gerard Healy & Dwayne Russell Philip Brady & Bruce Mansfield Andrew McLaren MELBOURNE’S OWN 26

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