Phantom of the Opera

Director’s Note I have had a long association with CLOC Musical ever the showman, has a similar bent. Although we “haunt” any number of theatres worldwide? Why Theatre, this being the thirteenth show that I have like to think that our Phantom has truly emerged spoil a good story with the cold facts? What a great directed for this remarkable theatrical organisation. from the murky depths of the real Paris Opera story and what a clever, entertaining, tuneful, Few amateur musical theatre companies in the House, the Palais Garnier, resplendently dominating romantic, beautiful, lush retelling of the urban myth world could muster the resources and the talent Avenue and Place de L’Opéra on the posh right we have in this Lloyd Webber version. needed to produce the number of high-quality bank of the Seine, the facts leave little doubt that From my first meetings with designer Brenton productions offered to their audiences over decades. Erik, the lake, his lair and labyrinth are but a fanciful Staples, Musical Director Andy McCalman, I, somewhat naively, believed that CLOC and I myth. The romance of the building, completed in choreographer Wendy Belli and costumière had peaked with the 1993 Australian amateur 1875, its lavish beaux-arts decorations and splendid Nerissa Saville, to auditions, rehearsals and finally première production of Les Misérables. But since interiors have become a temple to the arts, an to performance, the journey has been such a then, they have gone on to build a deserved architectural muse, inspiring generations of story pleasure. That journey has attracted a small army reputation for wonderful productions that have tellers. These have included countless film directors, of dedicated and talented believers and lovers of enriched Melbourne’s burgeoning and extremely playwrights and, of course, the irrepressible Lord musical theatre. The results of their efforts, I hope rich theatrical milieu. What an achievement for a Andrew Lloyd Webber. Notre Dame inspired you agree, have led to a remarkable production that group of enthusiasts who share a love of musical Hugo’s Hunchback and the Palais Garnier, Leroux’s will rank among CLOC’s finest theatre and devote a large part of their lives to Phantom. Paris is indeed a city of inspiration. Does and most memorable. bringing it to full theatrical bloom. Never has the it really matter that the dates don’t add up, that the My thanks and admiration word “amateur” been so apt and yet inapt. On lake is but a small reservoir, rather more tank-like to and of them all. the one hand, its Latin and French roots support than a candle-lit waterway, or that the Phantom is most likely one of the thousands of mythological Chris Bradtke the very notion of working for creatures born of theatrical superstition that love, l’art pour l’art, while on the other, there is nothing in a CLOC production that supports its pejorative meaning of below standard. This is a professional group of amateurs, both on satnadgeo.fCf Bravo, congratulations and well done! It is, therefore, hardly surprising that so many theatrical firsts have come their way including this one, the one for which we have waited for over twenty-five years. Could there be a more successful piece of musical theatre than Andrew Lloyd Webber’s The Phantom of the Opera? Well, perhaps there is a little competition from another rather popular show on a French theme. But Phantom hits a different nerve. Whereas that other one thrills with the championing of human kindness, forgiveness and sacrifice for a cause, Webber’s chef d’oeuvre soars with romance and the titillation of flirting with the darker side. The theme has been exploited by entertainers for centuries and continues to be so, witness the current success of the Twilight movies. Gaston Leroux, the creator of the original novel, a Parisian writer and journalist, must have smelt the success as easily as Victor Hugo whiffed the sewers. Both knew a good story when they heard one. However, whereas Hugo was a stickler for verisimilitude and historical accuracy, Leroux never spoiled a good story with the truth. Webber, 2

Based on the novel ‘Le Fantôme de l’Opera’ by Gaston Leroux Music by Andrew Lloyd Webber Lyrics by Charles Hart Additional Lyrics by Richard Stilgoe Book by Richard Stilgoe & Andrew Lloyd Webber with Toby Truscott, Laura Slavin, Patrick Hill, Samantha Du Rennes, Scott Hili, Tim Minturn, Beryle Frees, Julian Dunham, Lucinda Barratt, Shane Foster, Nicole Free, Jackson Harnwell, Gemma Hedger, Genevieve Kingsford, Phil Lambert, Rowena McDowell, Elise Naismith, Patrick O’Halloran, Richard Perdriau, Tim Phillips, Jon Sebastian, Allie Sutherland, Chris van Raay, Kelly Windle, Geordie Worland, Lindy Yeates, Peter Leithhead, Chantelle Davina, Kaitlin Jempson, Natalie Marinopoulos, Sarah Mitchell, Claire Robinson, Jessie Young Chris Bradtke Andy McCalman Wendy Belli Director Musical Director Choreographer Brenton Staples Nerissa Saville Stelios Karagiannis Marcello Lo Ricco Set Designer Costume Designer Lighting Designer Sound Designer Grant Alley Sandra Davies Bernard Hedger Technical Director Stage Manager Stage Director Debbie Osborne Melinda Peebles Crisanne Fox Beth Stryk Production Manager Costume Co-ordinator Set Dressing Props Co-ordinator Assistant to the Director May 10 - 25 2013 National Theatre St.Kilda BY ARRANGEMENT WITH ORiGiN™ THEATRICAL ON BEHALF OF THE REALLY USEFUL GROUP LIMITED Logo TM & ©1986 RUG Ltd. 3

President’s Note I t is with great excitement and much satisfaction that well as an amazing 24 Music Theatre Guild award I can write something in a President’s Report that I nominations, and 6 awards, including the prestigious have never been able to write before – welcome to top award Production of the Year for our October the WORLD amateur premiere of Lord Andrew Lloyd show All Shook Up. Two of the awards won for Sunset Webber’s legendary masterpiece The Phantom of the Boulevard, for Musical Director and Set Design, were Opera. won by Andy McCalman and Brenton Staples, both In 2012, CLOC continued to consolidate its position as of whom have returned to be part of the Phantom one of the leading music theatre companies in Australia. production team, along with Director Chris Bradtke, We produced two outstanding productions – both very who makes Phantom his lucky thirteenth directorial different, both presenting unique technical challenges assignment with us. and both receiving wonderful audience feedback as Phantom has been a massive undertaking in every department – sets, costumes, wigs, lights, sound, set dressing, props, special effects, and of course casting, to find just the right voices and talent to give justice to the vocally demanding score. After auditioning nearly 200 incredibly talented people of the highest calibre, we are confident that we chose a cast of 33 who could not be bettered, and we are sure that by the end of tonight’s performance, you will agree. The next twelve months will be very exciting for CLOC as we head towards our 50th year and our 100th production in May 2014. And before that, of course, for show number 99 in October, we will be returning to a genuinely true classic of the musical stage – Guys and Dolls, a show long overdue for a new production and something a million light years away from Phantom in every possible way. We look forward to your presence to help us celebrate this special time in the history of CLOC, as we count down towards the big 1-0-0. But for now, enjoy being part of history as we drop the chandelier, sail the gondola and unmask The Phantom of the Opera. Grant Alley 4

History I n 1984, Andrew Lloyd Webber had several hit Actress, Scenic Design, Costume Design, Lighting shows playing in the West End. Cats (1981) was Design). It is the second longest running musical a massive hit, and in the third year of what was ever on London’s West End (behind Les Miserables). to become a 21 year run, Song and Dance (1982) It is the longest running musical on Broadway ever, and Starlight Express (1984) were all enjoying celebrating its 25th anniversary in January 2013, successful West End seasons. Lloyd Webber was and the first to surpass 10,000 performances (in looking around for his next project, and decided February 2012). It has been translated into 15 he wanted “a major romantic story”, mainly as languages and has been seen in 145 cities in 27 a vehicle for his new wife Sarah Brightman (who countries by over 130 million people, including an had previously appeared in Cats, where she met abridged restaged version that ran in Las Vegas her future husband, who then cast her in Song and for six years until September 2012. It has earned Dance). higher box office revenues than any film or stage Lloyd Webber attended Ken Hill’s musical stage play play in history. The Phantom of the Opera, and was smitten with Today, over 26 record breaking years later, Phantom the story. After reading the original 1910 book by is still being performed at both original locations French author Gaston Leroux, and viewing both film on the West End (Her Majesty’s Theatre) and versions of the story (1925 with Lon Chaney, and Broadway (Majestic Theatre), as well as several 1943 with Claude Rains), he was convinced that productions staged in major world cities at any here was the grand romantic tale he was looking given time, featuring some cast members who for. Lloyd Webber approached various lyricists, were not yet born when the show opened. As well including Jim Steinman (who was busy producing as breaking many theatrical artistic and financial Bonnie Tyler’s new album), and Alan Jay Lerner records, the show has been a stepping stone for (who became seriously ill after joining the project many performers, some of whom have played the and was forced to withdraw). Finally, he used a role of both Raoul and the Phantom, and other collaboration of Richard Stilgoe (the lyricist for long-term cast members who have alternated roles, Starlight Express) and Charles Hart, then a young most notably swapping between playing the roles and relatively unknown lyricist, to write both the of the two opera owners, André and Firmin. In fact, book and lyrics. George Lee Andrews, who was an original cast Phantom began previews in London’s West End on member of the Broadway production, retired from September 27, 1986, opening officially on October the cast in September 2011 after 23 ½ years and 9. It starred (the previously lightweight comedic a record breaking 9,382 performances, earning a actor-singer) Michael Crawford as the Phantom (in place in the Guinness Book of Records for being the a role that was to change the public’s perception longest running actor in the same Broadway show. of him and forever define his career) and the new He performed 3 years in the ensemble and then 10 Mrs Lloyd Webber, Sarah Brightman, as Christine. years as each of the opera owners. Interestingly, The American Steve Barton was cast as Raoul (and Broadway’s current Raoul, Kyle Barisich, has played later took over the role of the Phantom). All three all 20 male ensemble roles since 2007, when he cast members repeated their roles when the show joined the touring company. moved to Broadway in January 1988. In October 2011, the 25th anniversary of the The creative team consisted of legendary American original production was celebrated with a special director Hal Prince (who continues to this day to performance of the show at the Royal Albert Hall be involved with Phantom productions around the in London. To meet the challenges of mounting world), choreographer Gillian Lynne (who had so the production in a concert hall that had no brilliantly choreographed Cats) and designer Maria stage, no wings, a chandelier that could not fall Björnson, who designed the unforgettable set and an expanded cast of 130, with an onstage (including the legendary chandelier, subterranean choir and orchestra of over 200, the show was gondola and sweeping Masquerade staircase), cleverly reimagined with the use of modern digital over 200 elaborate costumes and the Phantom’s projection and technology and was an artistic iconic mask. Interestingly the mask originally triumph, capped off by the appearance of two of the covered the Phantom’s entire face and remained in original stars, Michael Crawford and Lloyd Webber’s place throughout the performance. However, this own ‘angel of music’ Sarah Brightman, as well as obscured the actor’s vision and muffled his voice. four Phantoms from world productions (including So a new mask was designed to replace it, covering our very own Anthony Warlow), who all performed only half the actor’s face, and the unmasking the classic title song with Ms Brightman. sequence was written, adding climactic drama The Phantom of the Opera has proved to be a show and pathos to the show. Björnson’s designs set a that keeps breaking records as it keeps on keeping standard for stage spectacle seldom seen before on - an enduring classic of mammoth proportions or equalled since, and earned her multiple awards. that has survived and triumphed years longer than Sadly, Maria passed away in 2002 at the age of 53, the marriage between the composer and his leading reportedly due to heart failure. Somewhat eerily, lady. The public’s appetite for the drama, passion, this followed the equally early death of Steve Barton emotion and grandeur of this defining spectacle the year before, at the age of 47, also apparently of music theatre shows no sign of abating, as from heart failure. audiences around the world continue to “surrender Phantom was an instant worldwide hit and to the music of the night.” phenomenon wherever it opened, garnering 50 international theatre awards, including 7 Tony awards (Best Production, Actor, Actress, Featured 5

Direction & Design Chris Bradtke Andy McCalman Wendy Belli companies all over Melbourne. Director Musical Director Choreographer Since 1992, CLOC has played a major role in shaping Wendy’s In a career that spans all aspects Andy has a long standing and Dance in all its forms have formed life. Not only has she performed, of theatrical production, multi diverse theatrical background, the markers and milestones of choreographed and/or worked award-winning director and actor incorporating playing in Wendy’s life - studying, teaching, backstage in fourteen CLOC Chris Bradtke has developed orchestras, performing on stage, choreographing and performing. productions (including several an enviable reputation as one musically directing, directing As Wendy Bent she commenced directed by Chris), but in 1996, of Melbourne’s most creative, and teaching. Originally from ballet training with the late Marie while working as part of the dynamic and innovative music Ballarat, where he is a Life Cumisky (well known as a theatre backstage crew for 42nd Street, theatre talents. Member of Ballarat Lyric Theatre, choreographer), before moving to she met one of our long-standing Chris began his theatre life his musical theatre debut was the Victorian College of the Arts. floor managers Paul Belli, and more years ago than he cares to in their production of Grease in After graduating in 1989, she CLOC proudly chalked up yet remember as a performer of note the role of Doody. Among his began to teach classical, jazz and another marriage. Wendy and before making the move into many performance highlights tap classes, while beginning her Paul now have two gorgeous directing over twenty years ago. since then have included four performing career with Festival children (Madeline and James) Since then, his achievements have – yes four – productions of Les Theatre Company in 1990, under and it is with great delight and been truly outstanding – since Miserables (two as Enjolras, the direction of Chris Bradtke, excitement that Wendy is making 1987, he has been nominated two as Jean Valjean – notching playing Anne in their spectacularly her return to CLOC with this show as Best Director an incredible up two Music Theatre Guild successful production of La Cage since taking a mummy break. nineteen times (plus once for Best nominations before winning the Aux Folles. Over the last 23 And it also gives her a chance to Actor) and has won seven awards. Best Actor Award for his most years, Wendy has performed and see a bit more of Paul, who is as Among his credits are shows such recent portrayal of Jean Valjean choreographed in musicals with usual working as one of our floor as: Candide, My One and Only, On in Ballarat’s 2009 production). managers. When not dancing, or the Twentieth Century, Chess, La Andy also managed to squeeze choreographing, Wendy’s life is Cage Aux Folles, A Chorus Line, in a previous CLOC performance, still all about dance, as she has The Secret Garden, Man of La as Rapunzel’s prince in our 1994 her own Dancewear and Fairy Mancha, Beauty and the Beast, production of Into the Woods. Shop in Berwick, called ‘Dance n The Producers, Sweeney Todd, As a Musical Director, Andy has Dreams’. CLOC’s hugely successful 1993 enjoyed success, winning the blockbuster Les Miserables (the Guild award for Musical Direction first show he directed for CLOC for Ballarat’s 2007 production and which he again directed of Cats, and being nominated for Whitehorse ten years after for Chicago (2004) and Grease CLOC’s production) and its highly (2005). Last year, Andy had acclaimed productions of A Little the double honour of being Night Music, West Side Story, nominated TWICE for both shows Gigi, Jekyll & Hyde, The Scarlet he musically directed (Sunset Pimpernel (for which Chris won Boulevard-CLOC, and Hairspray- Guild awards for both Best Ballarat) and we were all Direction and Best Production) delighted to see him deservedly and The Boy from Oz. share the award for Musical In 2009, Chris directed both Director of the Year for Sunset of CLOC’s productions – the Boulevard, winning with our Australasian non-professional other Musical Director for 2012, premiere of Miss Saigon Danny Forward. (nominated for 11 Guild awards), followed by the elegant and witty High Society (one of CLOC’s most successful shows ever). After directing work with Stonnington City Council and the National Boys Choir, Chris returned to CLOC in 2012 to direct another Andrew Lloyd Webber premiere, Sunset Boulevard. Chris now makes a welcome return to CLOC for the lucky thirteenth time to direct a show that has long been on his ‘to do’ list. 6

Nerissa Saville In musical theatre, Nerissa worked (Present Tense), Hairspray (PLOS Brenton Staples Costume Designer as part of the costume team for & Catchment), Next To Normal Set Designer The Boy from Oz (PLOS 2009) (WMTC), Cats (Footlight), Originally from Queensland, and then had a very busy 2011, Avenue Q (JYM), Oz Made Over the past 30 years Brenton Nerissa moved to Melbourne in working on the sewing team Musicals (Comedy Theatre), has performed in, stage managed, 2009 and enrolled in the Diploma for CLOC’s Fiddler on the Roof Young Australian Broadway crewed, built scenery and more of Costume for Performance then as costume co-ordinator Chorus (CPCA, National Theatre) recently designed and painted sets at Swinburne University. She for our production of Aspects and the Music Theatre Guild of for many musical and repertory graduated in 2010, winning the of Love, while at the same time Victoria Awards. Marcello has theatre companies. He was a Life annual first prize for Excellence doing double duty as costume received awards for best sound for Member and Past President of in Costume Design, awarded by designer and co-ordinator for productions of Cats, Miss Saigon, Whitehorse Musical Theatre and CLOC Musical Theatre. Whilst Babirra Theatre Company’s The Into the Woods and Sweeney is a Life Member of the Music studying for her Diploma, Pajama Game (for which she Todd. Away from theatre Marcello Theatre Guild of Victoria. Brenton Nerissa was involved as costume was nominated for a Lyrebird has engineered many studio and has been nominated for Best designer, co-ordinator, maker, award). Last year’s Sunset live recordings for a variety of Set Design an amazing twenty and supervisor for a number Boulevard marked Nerissa’s debut projects, recently recording and times and won the award on nine of companies, including the as Costume Designer for CLOC, mixing Rhonda Burchmore’s ‘Cry occasions – CLOC productions National Institute of Circus Arts, for which she received a well Me A River – The World of Julie Gigi (2003, co-designed with the Victorian College of the deserved Guild nomination for London’. the late Les Cook), The Scarlet Arts, Steppes Dance School and Best Costumes. Pimpernel (2006) and Aspects the Globe Shakespeare Theatre Stelios Karagiannis of Love (2011), and Whitehorse Company in New Zealand, where Marcello Lo Ricco Lighting Designer productions Man of La Mancha her work was later sent to be on Sound Designer (1998), The Secret Garden (1999), display at the Globe in London. Stelios has been involved in The Producers (2007) and Aida Marcello studied Performing theatre for over twenty years, (2008, co-designed with John Arts at Monash University before working in both musical and Burrett). Many of his other completing Audio Engineering straight drama. Stel enjoys the nominations were for CLOC shows studies at SAE Institute and has challenge of working on different (Jekyll & Hyde (2005), SHOUT! worked extensively in theatre styles of theatrical productions in (2007), The Boy from Oz (2008), sound design. many unusual settings all around Miss Saigon and High Society His most recent designs include Melbourne including Federation (both in 2009), Dusty (2010)), Flowerchildren – the Mamas and Square, MTC’s Lawler Studio, The often in productions directed by Papas Story (Magnormos), Les Athenaeum Theatre, La Mama, Chris Bradtke and sometimes on Misérables (Footlight), The Secret The Comedy Club, The Organ occasions when he competed Garden (PLOS), Grease (Encore Factory, Chapel-off-Chapel and against himself. Last year, he – Tasmania), Margaret Fulton: Theatreworks. He is also the won his ninth Guild award for his Queen Of The Dessert resident lighting designer for Red spectacular design of the Sunset Stitch Actors’ Theatre. Boulevard mansion, which drew For CLOC, Stelios has created audience applause nightly. With innovative lighting designs this show, Brenton has finally had for Company, West Side Story, a chance to realise a design that Hot Mikado, Gigi, CATS, Blood he has dreamt about for years Brothers, The Boy from Oz since he first saw Phantom. and Miss Saigon, receiving Guild nominations for all eight productions. Stelios also won consecutive Guild awards for his designs in 2005 for CLOC’s Jekyll & Hyde and then again in 2006, for our Production of the Year, The Scarlet Pimpernel. His most recent designs for us were 2009’s High Society, 2010’s Man of La Mancha, 2011’s Aspects of Love and last year’s Sunset Boulevard. We welcome Stel back for his fifteenth CLOC show. 7

Cast Toby Truscott The Phantom Patrick Hill Laura Slavin Toby has appeared in many Raoul, Vicomte de Chagny Christine Daaé lead roles, both here and in the United Kingdom, where he lived for several Patrick was bitten by the performing bug while Laura is an expert at juggling many balls in years in his professional role as a recruitment a student at Caulfield Grammar and also as a the air at once, for not only is she a talented manager. Theatrical highlights include Sky member of the Australian Boys Choir. He went music theatre and opera performer with a truly Masterton (Guys and Dolls), Perchik (Fiddler on to train at the Victorian College of the Arts stunning voice, but when she is not performing on the Roof), Jesus (Jesus Christ Superstar), (B. Mus. Theatre) and the Monash University onstage, she dons a stethoscope and becomes Caliph (Kismet), Roger (A New Brain), Anthony Academy of Performing Arts (B. Perf. Arts). He Dr Slavin at one of our big city hospitals! Even (Sweeney Todd), Freddy (My Fair Lady), and two performed several musical and non-musical more remarkably, Laura has managed to pursue appearances in one of his favourite shows, The roles as part of his course requirements her love of performing while still keeping up Secret Garden, for Whitehorse in 1999 (when (including Berger in HAIR!, Officer Krupke in with her studies all through medical school, he was nominated for a Guild award for his West Side Story and Buddy Fidler in City of and now her long hours at the hospital as a role as Albert Lennox), and most recently, for Angels) and also directed two productions for medical registrar. Over the last ten years, Laura PLOS, where he appeared in the lead role of the Caulfield Grammarians’ Fairfax Players has appeared regularly with Melbourne Opera Archibald Craven earlier this year. (An Ideal Husband and As You Like It). Patrick and the Gilbert and Sullivan Society, as well as For CLOC, Toby appeared as Paul in Company makes his CLOC debut tonight as the romantic in various choirs, choral events and festivals. In (1999), then after his return from the UK, lead prepared to fight to the death for his true music theatre, highlights have included Cosette starred in the title role of our 2006 Production love Christine. in Les Miserables, Eliza in My Fair Lady and of the Year, The Scarlet Pimpernel, receiving Johanna in Sweeney Todd (all with OSMaD, the a Guild nomination for Best Actor. He 8 last directed by Chris Bradtke), Tzeitel in Fiddler immediately followed this up by donning on the Roof and Marsinah in Kismet (both a furry cat suit and appearing as Old with Babirra), and Cinderella in Into the Woods Deuteronomy in Cats, a role that changed his (Waterdale). Laura is marking several ‘firsts’ life forever, as it was during this show that he with this show – her first appearance with met his gorgeous wife Bree, with whom Toby CLOC performing a role she has long coveted now has the adorable Tommy (with No. 2 due in a world premiere - altogether a dream come just after our season finishes!). In 2009, Toby true for her. and Bree appeared together in our premiere production of Miss Saigon, in which Toby stopped the show every night with his stunning rendition of the stirring anthem Bui Doi. He then took some time out to enjoy his new family, but he could not resist the temptation to fulfil his dream of playing a role that has long been on his bucket list. So it is with open arms and much excitement that, after four years, we welcome Toby back to CLOC to give all of us the pleasure and gift of his stunning voice and talents which you are about to experience.

Samantha Du Rennes Julian Dunham Scott Hili Carlotta Guidicelli Ubaldo Piangi Richard Firmin Samantha graduated from the University Julian is an interesting man to have a Scott has straddled the worlds of professional of Melbourne with a Bachelor of Music conversation with, as not only is he the proud and non-professional theatre for many years. (Performance) and also holds a Bachelor father of four daughters, aged 15 down to 7 Some of his professional roles have included of Speech Pathology with a major in voice (lucky man!), but he is also a Christian Minister, the Sydney season of Billy Elliot, Sugar for therapy. She currently runs her own private otherwise known as Rev. Dunham! Twenty the Production Company and Doctor Zhivago voice therapy practice “In Good Voice”. five years ago, Julian moonlighted with some (original cast). Scott has also made his mark Samantha appeared in her first opera with The theatre and opera work until work/family as a performer, choreographer, designer and Australian Opera at the age of 14. She has commitments became a priority, and it was not director in the Melbourne music theatre scene. been a member of the Melbourne chorus with until 2006, that the performing bug got the He has received several nominations for Opera Australia since 2004 and also appears better of him and Julian returned to the stage, both Lyrebird and Guild awards for direction, with Victorian Opera and Melbourne Opera, as appearing in Les Miserables, then taking lead choreography and set design (including Jesus both a chorus member and as an understudy. roles in The Producers (playing the crazy Franz, Christ Superstar PLOS, Joseph and the Amazing In music theatre, Samantha has appeared as directed by Chris Bradtke), Oliver! (as Fagin) Technicolour Dreamcoat Dandenong, There’s Cosette (Les Miserables, Altona City Theatre), and Aida (as Pharoah) – a pattern in which No Business Like Show Business Dandenong, Josephine (HMS Pinafore-Babirra), Velma Von Julian seems to delight in playing decidedly Urinetown MUMCo), and won in both 2004 Tussle (Hairspray, SLAMS) and most recently, non-righteous characters! For this show, (Nicely Nicely Johnson, Guys and Dolls, Babirra) she appeared as Rose in PLOS’ acclaimed although not really playing a ‘baddie’, Julian and in 2006 (Lefou, Beauty and the Beast, production of The Secret Garden. For this show, would like it known that he has had to pad up Whitehorse), both for Best Supporting Actor. Samantha is delighted to have the opportunity with a (very) large fat suit! For CLOC Scott has appeared in A Chorus Line, to channel her inner Italian diva (complete with The Scarlet Pimpernel, Miss Saigon and Sunset accent) in her first CLOC show. Boulevard (all directed by Chris Bradtke). Tim Minturn Beryle Frees Lucinda Barratt Gilles André Madame Giry Meg Giry In 1995, Tim graduated in Music Theatre Beryle is one of our music theatre veterans, A student of all forms of dance (ballet, jazz, from the highly regarded Western Australian having an extensive thirty year background in tap, contemporary) over the last fifteen Academy of Performing Arts. As a performer classical ballet, choirs, opera, revues, straight years, Lucinda completed her Bachelor of and director, Tim has worked professionally all theatre and music theatre. Her performance Performing Arts at Monash University in 2012 over Australia and his birthplace New Zealand CV covers most of Melbourne’s leading theatre and is now working as an entertainer with in such productions as The Sound of Music, companies (Whitehorse-Les Miserables, the Entertainment Store. She spent her high Cinderella, Disney Live!, The Boy from Oz, CLK-Beggar Woman in Sweeney Todd, Fab school years featuring in musicals at McKinnon Sunset Boulevard, Cats, Titanic, Godspell and Nobs-Arlene in Baby, SHooSH-Mother in Kiss Secondary College, and followed this up with Perform! Educational Musicals. In 1999, Tim of the Spiderwoman, PLOS-Mrs Winthrop in appearances in both dramatic and musical was diagnosed with brain cancer and thought The Secret Garden). Some highlights of note productions with her university course. After he would never perform again. Twelve years include her Music Theatre Guild award winning performances in Fab Nobs’ Spring Awakening, later, he returned to the stage at this very performance as Fräulein Schneider in PLOS’ and Williamstown’s stunning 2011 production theatre in Quirky Productions’ La Cage Aux Cabaret, and her previous two appearances of Chicago, Lucinda appeared in the ensemble Folles and tonight, he is continuing the journey with CLOC, as Lady Beaconsfield in Jekyll of both of CLOC’s 2012 productions, Sunset he thought he would never make. It gives us & Hyde (2005) and her Guild nominated Boulevard and All Shook Up. She is thrilled and particular joy and pleasure to welcome Tim to performance as Marion Woolnough in The delighted to be making her first appearance the National and to CLOC, as part of such a Boy from Oz (2008), both directed by Chris as a principal performer with us, combining all special production. Bradtke. After a five year break, we welcome her musical theatre loves of acting, singing and Beryle back to take on a role we think she was dancing. destined to play. 9

Shane Foster Gemma Hedger Jackson Harnwell Don Attilio/Ensemble Ensemble Fop 2/Ensemble Shane is a graduate of the three year With every CLOC production, Gemma finds Originally from Wangaratta, where he cut National Theatre Drama School Acting course herself either dressed in black working his performing teeth in school musicals and (located right here!), with much experience backstage as a highly valued member of the Wangaratta Players theatre company, in dramatic theatre (including appearances our backstage crew (alongside her husband Jackson moved to Melbourne where last in such classics as Medea, Three Sisters, Six Bernard, our long standing Stage Director), year, he completed a Bachelor of Music Characters in Search of an Author and The or, as in the case tonight, dressed in far more (Performance - Classical Voice) at the Good Woman of Setzuan). After taking a break glamorous attire, bejewelled and bewigged Melbourne Conservatorium of Music. As well from performing, Shane decided to move into as a cast member. Either role is not surprising as a gorgeous classically trained voice, which musical theatre and in 2011, appeared in both for the versatile and talented Gemma, who he exercises as a member of the MSO chorus, of Williamstown Musical Theatre Company’s is a graduate of the Melba Conservatorium Jackson is also proficient at playing both piano productions - Dusty-The Original Pop Diva and of Music, has studied singing, drama, tap, and trumpet. At only 22 years of age, Jackson their sell-out season of Chicago. He then made jazz and calisthenics, and works as a singing has also already amassed an impressive his CLOC debut in our premiere production teacher and stage manager for schools. Her range of experience in his first love, orchestral of Sunset Boulevard last year and was one of performance experience includes musicals, conducting (including gigs conducting Opera several of our cast members who appeared in cabaret, concerts, revues, films and television. in the Market and Opera in the Alps), and he PLOS’ The Secret Garden earlier this year. By In musical theatre, Gemma has worked with currently works as Assistant Conductor with day, Shane is one of many musical theatre Whitehorse (The Sound of Music, My Fair Lady), Opera Scholars Australia. performers who works in IT. and Catchment (Evita, West Side Story). This is Gemma’s sixth onstage appearance with CLOC, following A Little Night Music, Anything Goes, Barnum, The Scarlet Pimpernel and most recently, Fiddler on the Roof. 10

Nicole Free Genevieve Kingsford Phil Lambert Ensemble Ensemble Joseph Buquet/ Fire Marshall/Ensemble Nicole works as a speech pathologist, both One half of a very musical pair of twins, in clinical practice and in academia at Genevieve is an alumni of St Leonard’s College Phil is originally from Queensland, where La Trobe University. As if that is not enough, in Brighton, where she played an active role he has a wealth of experience, mainly in she also has a Bachelor of Music (Performance- in the school’s music, drama and theatre dramatic theatre, with roles in such classics Classical Voice) from Monash University, and departments, and in fact was the recipient as Private Lives, Waiting for Godot, Death currently moonlights as a performer with of a performing arts award from the school. and the Maiden, The Caucasian Chalk Circle, both the Melbourne Chamber Choir and The Some of her school performances included Speaking in Tongues and several Shakespeare Sirens, a female acapella vocal ensemble. She roles in HONK!, Seussical and Children of productions, including Richard III, Romeo has appeared with Gilbert & Sullivan Opera Eden, as well as in straight plays The Crucible and Juliet and Macbeth. Since moving to Victoria, Lyric Opera and Victorian Opera. This and Much Ado about Nothing. Since leaving Melbourne, Phil has worked for The Australian is Nicole’s first appearance in a musical and school, Genevieve has continued her theatrical Shakespeare Company (yes, more Shakespeare) with CLOC. involvement with St Leonard’s Uniting Church in The Comedy of Errors, The Taming of the (Godspell, Footloose), the Leonardian Players Shrew and Richard III (again). He has also (Rent) and at Monash University, where she has added opera to his repertoire by appearing been involved in student theatre while studying with Melbourne City Opera in Andrea Chenier for a degree in Behavioural Neuroscience. And and Luisa Miller. In 2011, Phil appeared as between performing and studying, Genevieve the evil Judge Turpin in OSMaD’s production managed to indulge her passion for theatre by of Sweeney Todd and he made his CLOC debut attending over 50 plays in 2012 (that’s one a last year as Max von Mayerling in Sunset week for the entire year – PHEW!). Boulevard. Phil is delighted to be working with Chris Bradtke for his third successive show and his second CLOC appearance. 11

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Rowena McDowell Tim Phillips Patrick O’Halloran Ensemble Fop 1/ Fire Marshall/Ensemble Auctioneer/Ensemble Rowena (O’Callaghan, as she was then known) Tim has studied Performing Arts at Monash Patrick is a relatively new arrival from worked with Chris Bradtke on a number of University and is currently enrolled at the Tasmania, now living and working in occasions with different companies, including Victorian College of the Arts, in the Bachelor Melbourne as a lawyer. He played some major CLOC (Jekyll & Hyde, The Scarlet Pimpernel, of Fine Arts (Theatre Practice) course. He has roles in theatre in the apple isle, including Miss Saigon which she worked on as repetiteur) appeared in both dramatic plays and musical Cinderella’s Prince/The Wolf (Into the Woods), and Whitehorse (Les Miserables). Rowena theatre, including Anything Goes (Whitehorse) John Wilkes Booth (Assassins), Tom Collins then took time out while she married husband and most recently as Tobias in OSMaD’s 2011 (Rent), and most recently, Peter Allen (The Boy Mark and then had her two beautiful children production of Sweeney Todd, directed by Chris from Oz). Patrick makes his Melbourne and Hudson and Mason. It took the temptation Bradtke. We welcome Tim for his first CLOC debut with Phantom, in his first stage of such an exciting theatrical event, plus the CLOC performance. appearance since 2009. prospect of once more working with Chris that took Rowena out of her role as Mummy and back on to a stage. Welcome back, Rowena. Richard Perdriau Elise Naismith Monsieur Lefèvre/Ensemble Ensemble After working in Melbourne theatre during Elise is in the third year of a double degree in the 1980s, Richard spent the 1990s working Music (Classical Voice) and Performing Arts professionally in the UK and USA performing at Monash University. Her love of theatre in regional musical theatre, cruise ship was nurtured by five years as a member productions and theatre in education. More of the Young Australian Broadway Chorus, recent Melbourne amateur theatre credits during which time she was promoted to the include Miss Saigon (ensemble), High Society top performance “Triple Threat” group in the (George Kittredge) and Man of La Mancha company, and performed various roles in their (Governor/Innkeeper) all with CLOC, Kiss of twice yearly concerts held right here at the the Spiderwoman (Esteban) with ShoosH! and National Theatre. While a student at Mount Little Shop of Horrors (Mushnik) with Phoenix. Lilydale Mercy College, Elise performed lead Richard has directed and designed two shows roles in several school musicals (including for Phoenix Theatre Company: Godspell in Cinderella, West Side Story, Les Miserables, The 2010 and Into the Woods in 2011. In 2012 he Pirates of Penzance, and The Sound of Music), directed and set designed the very successful and became Drama Prefect in Year 12. Last How to Succeed in Business Without Really year, Elise played the role of Shelley in PEP’s Trying for MDMS, which picked up five Lyrebird production of Bat Boy, the Musical. awards, including two for Richard personally for Best Direction and Best Sets, as well as the coveted Production of the Year. As if that was not enough, Richard then ended 2012 by appearing as Gangster 2 in Fab Nob’s The Drowsy Chaperone. He is thrilled to be putting on his performer’s hat to return to CLOC as part of such a special event. 13

Jon Sebastian Allie Sutherland Lindy Yeates Monsieur Reyer/Ensemble Ensemble Ensemble Jon, CLOC and Chris Bradtke all have a long Allie hails from Ballarat, where, in 2006, Lindy is originally from South Australia, where shared history, which spans the last fifteen she received a Music Theatre Guild award she began her musical and theatrical career. years. After initially joining CLOC to star as for Best Junior Performer for her portrayal After she moved to Melbourne in the mid Don Lockwood in our 1998 production of of Maria in Ballarat College’s production of 1990s, she continued to perform (Pride and Singin’ in the Rain, Jon then proceeded to West Side Story, followed the next year by a Prejudice, HMS Pinafore, Godspell, South appear in four more CLOC productions, all commendation for her appearance as Babe in Pacific, Les Miserables, Oliver!) and in 2001, directed by Chris – A Chorus Line, Jekyll & The Pajama Game. Moving to Melbourne to she received a Lyrebird award for Best Lead Hyde, The Scarlet Pimpernel, and most recently, study, Allie appeared in several productions Actress in a Musical for her performance in the he starred as Peter Allen in our 2008 premiere with the University of Melbourne Musical title role of Mame for NOVA. She then took an production of The Boy from Oz. Interspersed Theatre Association (UMMTA) – Sweet Charity, extended break from theatre, performing as a with these shows were lead roles with You’re a Good Man Charlie Brown (playing vocal soloist at many weddings, church services several other major companies (including two Lucy) and The Wedding Singer. In 2010, she and community events, while also working as Whitehorse shows directed by Chris – Beauty was appointed the Artistic Director of UMMTA a primary school teacher and specialist in Art and the Beast and The Producers). His last and directed their production of A New Brain, and Music. After retiring from teaching, she theatrical performance was in 2008 as Zoser receiving a Guild commendation for Best now works from a home studio as an artist, in Whitehorse’s Aida, after which he relocated Director. She also appeared in two OSMaD while enjoying quality time with her husband, to Sydney for work (another IT whiz!). Having productions Jesus Christ Superstar (2009) and three grown sons and their partners. After a ten returned to Melbourne a year ago, Jon decided Sweeney Todd (2011). Allie made her CLOC year break from theatre, Lindy returned with a it was time to ‘jump back on the horse’, and debut last year with Sunset Boulevard while bang, taking the lead role of Golde in our much took the opportunity to work once more with completing her full-time music theatre course praised season of Fiddler on the Roof in 2011. both CLOC and Chris in what is a very welcome at Showfit. Now studying law, she is delighted She then had great fun playing the murderess return to this enduring collaboration. to be back for her second CLOC appearance. Leticia Blacklock in Agatha Christie’s A Murder is Announced for Croydon Parish Players, and most recently appeared as Mrs Medlock in The Secret Garden for PLOS. 14

Kelly Windle Geordie Worland Chris van Raay Confidante/Ensemble Chief Fire Marshall/Ensemble Passarino/Ensemble Kelly has had a varied performing career Geordie is originally from Sydney, where he Chris makes a return to CLOC after appearing covering drama, film, cabaret, improvisational worked in theatre for over ten years. Most as an American soldier in our 2009 smash theatre and music theatre. Amongst her most of his roles were with Willoughby Theatre hit Miss Saigon. This show has extra special noted theatrical highlights are two appearances Company and included Les Miserables, Cabaret, significance for Chris, as it is where he met in both Oklahoma! (Ado Annie-Loyola, Laurey- Beauty and the Beast, Grease, Hot Shoe Shuffle his wife Deborah, who was also in the cast. NOVA) and in Into the Woods (Cinderella- and Company. In 2010, Geordie was a semi- Chris and Deb married earlier this year in what Williamstown , Baker’s Wife-Phoenix). This is finalist for the Rob Guest Endowment award. we can proudly chalk up as another CLOC Kelly’s third time working with Chris Bradtke, Geordie’s first show in Melbourne was as a cast marriage. This year marks Chris’ tenth year following The Producers (Whitehorse) in 2007 member of CLOC’s 2012 production of Sunset in musical theatre, after appearances with and then her 2009 starring role as Tracy Lord in Boulevard, followed by an appearance as Pat Dandenong (Fame, Les Miserables, Sweeney CLOC’s record breaking season of High Society, Denning with NOVA’s 42nd Street. Geordie Todd), CPAC (Jesus Christ Superstar, The Sound our final production at The Alexander Theatre, was delighted to have the opportunity to return of Music, Joseph..Dreamcoat) and Babirra before our relocation to the National. to CLOC and be part of such a prestigious (Calamity Jane, The Sentimental Bloke, Sweet production. By day, Geordie is studying Charity). By day, Chris works as a technology Building and Construction Management. consultant, designing mobile applications, which means he gets to be creative both on and off the stage. 15

The Ballet Peter Leithhead Jessie Young Sarah Mitchell Lead male dancer/ Marksman Eighteen year old Jessie completed Year 12 Twenty year old Sarah is very excited to be last year, and is currently working part-time making her musical theatre debut in such a Peter’s first stage appearance in a while studying dance (ballet, jazz, tap) at T.J. prestigious production. Originally from rural musical was while still a student at Dance Studio in Hallam, where she has trained Western Australia where her parents still live Melbourne High School, in their 1984 for the last 15 years. She is making her music and work on the family farm, Sarah came alone production of Pippin, directed by a theatre debut with CLOC and with a world to Melbourne at just 17 years of age to take up young teacher named Chris Bradtke. premiere production – not a bad way to start an offer to study full-time classical dance at the Peter then undertook tertiary studies her performing career! National Theatre Ballet School, located directly at the Victorian College of the Arts under our theatre where you are sitting right School of Dance between 1987 and now (so she doesn’t have too far to travel!). 1989, where he first met fellow student She is now in the final year of her Dance and dancer Wendy Bent. From 1986 to Studies, and is hoping to forge a career as a 1998, Peter was a familiar face and lead professional dancer. Sarah is honoured to have dancer in shows all around Melbourne, been given the opportunity to be part of this including NOVA (five shows), Whitehorse production, and is extra excited as her parents (four shows), Windmill, Altona and are going to make the long trek from W.A. to CLOC, where he appeared in eight proudly watch their daughter onstage. productions, including Mame, Carousel, Kiss Me Kate, 42nd Street and Singin’ Claire Robinson Chantelle Davina in the Rain. Peter then ‘retired’ while he married, had three children (now Claire is one of the many Kiwi performers Chantelle has lived up to her perfect ballerina aged 13, 12 and 5) and established his who seem to make CLOC their first stop after name, with over twenty years’ experience in professional life as a senior business making the move across the Tasman. She all forms of dance, including RAD advanced analyst (yes, another theatre person has studied, taught, choreographed and classical ballet and a Diploma in Dance working in IT). Although it has been adjudicated dance, both here and in New (majoring in classical ballet) from Dance fifteen years since he appeared onstage, Zealand, and was also a gym instructor for World Studios. Chantelle leads a very busy Peter has kept his body in fine shape seven years with the Les Mills program. and diverse life. As well as her day job as a (as you will see tonight) by being a gym She performed many roles in music theatre fashion consultant at Giorgio Armani, she is junkie on the side. So it was not hard for (most recently, Bombalurina in Cats) before studying psychology part-time, and she also him to get back in shape and resume relocating to Melbourne in 2010. Since then, teaches dance – ballet, jazz, latin, ballroom and dancing under the watchful eye of his Claire has been busy organizing her life here, contemporary. Chantelle makes her musical old friend and dancing partner Wendy working as an office manager in a recruitment theatre and CLOC debut with Phantom – and Bent/Belli. company, and teaching dance at Jason what a way to start! Coleman’s Ministry of Dance and the Children’s 16 Performing Company. This is Claire’s first onstage performance since moving to Oz and we welcome her.

Natalie Marinopoulos Natalie got her start performing in school musicals at Loreto Mandeville Hall, where she appeared in High School Musical, Pirates of Penzance and Hot Mikado. She then went on to study dance full-time at Patrick Studios Australia, appearing in a number of events, festivals and conventions, including Crown Casino and Melbourne Town Hall. She is currently studying Communication Design at RMIT University and teaching dancing part-time at the Melbourne Academy of the Arts. Natalie was one of our dancers in the fabulous All Shook Up, and had such a ball, she could not wait to return to dance for us again, although in a show and dance style that could not be more different. Kaitlin Jempson Kaitlin is one of our younger cast members, having been in the middle of her Year 12 exams when she auditioned last year. She has since begun full time study in Dance at the Michelle Slater Performing Arts Studio as well as a part time Bachelor of Arts at Melbourne University. Kaitlin’s passion for performing kept her busy throughout her secondary school years, in shows such as Oliver!, The Wizard of Oz, Alice in Wonderland Jr (The Mad Hatter), Seussical Jr (The Cat in the Hat) and Into the Woods Jr (The Baker’s Wife) – all with Catchment Players, as well as the title role in her school musical, Sweet Charity, for Ivanhoe Girls’ Grammar, where she was the recipient of a music scholarship. Kaitlin has also studied all forms of dance for thirteen years, as well as classical and music theatre singing, receiving a High Distinction for Sixth Grade Classical Voice. 17

Synopsis Act I She awakes the next morning to the sound of a Act II music box with a monkey playing the cymbals. The T he year is 1905. An auction is being held on Phantom is seated at his organ, absorbed in his I t is six months later. The Opera is having a the stage of the Paris Opera House, the Palais composition. Christine quietly approaches him and masked ball to celebrate the New Year and Garnier. Amongst the items for sale is a music unmasks him from behind. Furious, he turns on her, the fact that the chandelier has been repaired. box with the figure of a mechanical monkey which and Christine recoils from the horror of his face and Raoul and Christine have become engaged, but is purchased by the aged and infirm Raoul, Vicomte his anger. Once his anger is spent, he breaks down, Christine wishes to keep the fact a secret, wearing de Chagny, for whom it seems to hold special and Christine, moved by pity, returns his mask. He the engagement ring on a chain around her neck. significance. The next item for sale is the remains takes her back to the Opera House. In the middle of the ball, the Phantom appears of a shattered chandelier, which the auctioneer Meanwhile inside the Opera House, Joseph Buquet, and announces that he has written an opera says, has a connection to “the strange affair of the Opera’s chief stagehand who, like Madame entitled Don Juan Triumphant. He demands that The Phantom of the Opera…a mystery never fully Giry, inexplicably knows much about the Phantom, it be produced immediately, with Christine in the explained.” As the chandelier is uncovered, it regales everyone with tales of the ‘Opera Ghost’. lead role. He then tears the engagement ring from suddenly illuminates, comes back to life and rises Madame Giry cautions him not to speak about what Christine’s neck and vanishes. high above the audience back to its rightful place, he knows. Raoul questions Madame Giry about the Phantom, transporting the stage and the Opera House back to There is confusion everywhere regarding Christine’s and she tells him what she knows - that he is the earlier grandeur of 1881. overnight disappearance, which is accompanied by a deformed musical genius who escaped from Rehearsals are under way for the evening’s a series of preposterous demands via handwritten captivity in a travelling freak show, disappeared performance of a new opera Hannibal. The notes from The Phantom, including one that Carlotta and was presumed dead, but that he still lives opera owner uses the occasion to announce his be replaced by Christine in the lead role of the somewhere in the bowels of the Opera House. immediate retirement and introduces the new upcoming opera Il Muto. André and Firmin try to Raoul hatches a plan to use Don Juan Triumphant owners, Messieurs André and Firmin, who ask assuage the enraged Carlotta (who is convinced as a trap to capture the Phantom. However Carlotta, the opera’s resident soprano prima donna, that Christine is behind the notes) that she will Christine, torn between her love for Raoul and the to perform a piece from the opera. As she sings, remain the star and Christine will have the silent Phantom’s lust for her, does not want any part in a piece of scenery suddenly falls without warning, role of the page. However, during the performance, the plot because she’s afraid the Phantom will and Carlotta, furious about the number of such the Phantom reduces Carlotta’s voice to a frog-like capture her. She visits her father’s grave, longing unexplained ‘accidents’, storms out, vowing not to croak and then a backdrop falls to reveal the corpse for his guidance. The Phantom appears, and again return until ‘you stop these things from happening’. of Buquet, hanging from the rafters. puts Christine under his spell, until Raoul arrives, Left without a leading lady, Madame Giry the Opera In the ensuing panic, Christine escapes with awakens her from her trance, and says he will take Ballet mistress, and her daughter Meg, one of the Raoul to the roof where she tells him about the her away. The Phantom is furious and declares war ballet dancers, urge the new owners to listen to Phantom. Raoul is incredulous, but offers her on them both. Christine Daaé, a Swedish chorus girl and orphaned protection. They profess their love for each other The performance of Don Juan Triumphant, the daughter of a prominent violinist, saying she and kiss. The Phantom, who has been secretly Phantom’s opera, begins, with Christine and Ubaldo has been ‘well taught’. With cancellation of the watching, is heartbroken. He angrily vows revenge Piangi, the Opera’s principal tenor, singing the lead performance as their only alternative, the owners against Raoul and as the cast of Il Muto are taking roles. During their duet, Christine suddenly realizes reluctantly agree, and to their surprise and delight, their bows, he brings down the Opéra’s mighty that she is singing not with Piangi, but with the find she is equal to the challenge and she makes a chandelier, which crashes to the floor as the Phantom himself. He expresses his love for her and triumphant debut. After the performance, Christine curtain falls. gives her his ring, but Christine rips off his mask, confesses to Meg that she does not know who her exposing his deformed face to the audience. As mysterious singing teacher is, and only knows him Piangi is found murdered backstage, the Phantom as the ‘Angel of Music’. snatches Christine and flees the theatre. Watching Christine’s performance is opera patron, Raoul attempts to follow the Phantom, and is Raoul, the Vicomte de Chagny, who remembers aided by Madame Giry, who tells him how to find Christine from their childhood friendship. He visits the Phantom’s subterranean lair, but warns him of her in her dressing room, where they reminisce. the danger – “keep your hand at the level of your Christine reminds Raoul about the ‘Angel of Music’ eye”… stories that her late father used to tell them, and Down in the Phantom’s lair, Christine confronts the confides that the Angel has visited her, and taught Phantom with the fact that his true disfigurement her to sing. Raoul laughs at her ‘fantasies’, and is that of his soul, not his face. Raoul arrives, and invites her to dinner. He leaves and a jealous the Phantom lets him in, only to trap him in a noose Phantom appears in Christine’s mirror in the guise and offer Christine an ultimatum: either she stays of ‘The Angel of Music’. The mirror glides open and with him, or Raoul dies. Christine’s answer is to kiss the Phantom draws Christine, now in a trance, into him. The Phantom, having experienced kindness his ghostly underground realm. Christine and the and compassion for the first time, sets them both Phantom journey through the labyrinth beneath free. Christine returns the Phantom’s ring to him, the Opera House, crossing a lake to arrive at the and he tells her he loves her. She cries, forces Phantom’s lair. It is here that he explains to her why herself to turn away, and exits with Raoul, leaving he has been teaching her--so that she may sing his the Phantom to weep at his loss, before huddling on music. Christine sees a mannequin of herself in a his throne and covering himself with his cape as the wedding dress and faints. pursuing mob closes in on the lair. Meg is the first to arrive and she approaches the throne and tears the cloak away - but the Phantom has vanished. All that is left is the Phantom’s mask. 18

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Phantom: Cast List PRINCIPALS The Phantom CORPS DE BALLET OF Christine Daaé THE OPÉRA POPULAIRE Toby Truscott Raoul, Vicomte de Chagny Laura Slavin Carlotta Giudicelli Peter Leithhead (Lead male dancer) Patrick Hill Ubaldo Piangi Chantelle Davina Samantha Du Rennes Monsieur Firmin Kaitlin Jempson Julian Dunham Monsieur André Natalie Marinopoulos Scott Hili Madame Giry Sarah Mitchell Tim Minturn Meg Giry Claire Robinson Beryle Frees Jessie Young Lucinda Barratt Bidder (Auction)/Carthagian (Hannibal)/Don Atilio (Il Muto)/Nobleman (Don Juan Triumphant) ENSEMBLE Carthagian (Hannibal)/Noblewoman (Don Juan Triumphant) Porter (Auction)/Carthagian (Hannibal)/Fop (Il Muto)/Nobleman (Don Juan Triumphant) Shane Foster Bidder (Auction)/Carthagian (Hannibal)/Pianist (Rehearsal)/Noblewoman (Don Juan Triumphant) Nicole Free Carthagian (Hannibal)/Noblewoman (Don Juan Triumphant) Jackson Harnwell Bidder (Auction)/Joseph Buquet/Policeman/Fire Marshall/Nobleman (Don Juan Triumphant) Gemma Hedger Slave Master (Hannibal)/Marksman Genevieve Kingsford Nurse (Auction)/Carthagian (Hannibal)/Noblewoman (Don Juan Triumphant) Phil Lambert Carthagian (Hannibal)/Noblewoman (Don Juan Triumphant) Peter Leithhead Auctioneer/Carthagian (Hannibal)/Nobleman (Don Juan Triumphant) Rowena McDowell Monsieur Lefèvre/Nobleman (Don Juan Triumphant) Elise Naismith Porter (Auction)/Fop (Il Muto)/Fire Marshall Patrick O’Halloran Monsieur Reyer/Nobleman (Don Juan Triumphant) Richard Perdriau Carthagian (Hannibal)/Mme André/Noblewoman (Don Juan Triumphant) Tim Phillips Carthagian (Hannibal)/Pianist (Hannibal)/Passarino (Don Juan Triumphant) Jon Sebastian Carthagian (Hannibal)/ Confidante (Il Muto)/Noblewoman (Don Juan Triumphant) Allie Sutherland Bidder (Auction)/ Carthagian (Hannibal)/Policeman/Chief Fire Marshall Chris van Raay Costumière (Hannibal)/Christine’s Dresser/Noblewoman (Don Juan Triumphant) Kelly Windle Geordie Worland Andy McCalman Lindy Yeates Prue Glen (Leader) Sarah Nieuwkerk ORCHESTRA Chantal Roddy Anne Beruldsen Musical Director Simone Rickerby Violin 1 Anita Smith Violin 2 Evelyn Bergman Violin 3 Barbara Oakes Violin 4 Debra McLeod Violin 5 Sage Fuller Violin 6 Patrick Devine Violin 7 Martine Wengrow Viola 1 Tim Verdon Cello 1 Amber Simm Cello 2 Gregory Peterson Double Bass Andrew Houston Keys 1 Jenny Lowe (Cor Anglais) Keys 2 Glenn Taylor Keys 3 (Harp) Sara Rafferton Woodwind 1 Dan McKimm Woodwind 2 Elsa Brissenden Woodwind 3 Cate Waugh Woodwind 4 Thomas Pepprell Woodwind 5 Olivia Maccora Trumpet 1 Jonty Smith Trumpet 2 Bryn Bowen Horn 1 Horn 2 Horn 3 Trombone Percussion 20

Musical Numbers Prologue The Stage of the Paris Opera House, 1905 Overture (Auctioneer, Raoul and Company) ACT I – Paris 1881 Scene 1 – The Dress Rehearsal of ‘Hannibal’ Think of Me (Carlotta, Christine and Raoul) Scene 2 – After the Gala Angel of Music (Christine and Meg) Scene 3 – Christine’s Dressing Room Little Lotte/The Mirror/Angel of Music (Raoul, Christine and Phantom) Scene 4 – The Labyrinth Underground The Phantom of the Opera (Phantom and Christine) Scene 5 – Beyond the Lake The Music of the Night (Phantom) Scene 6 – Beyond the Lake, The Next Morning Remember/Stranger Than You Dream It (Christine and Phantom) Scene 7 – Box 5 Magical Lasso (Buquet, Meg, Madame Giry and Ballet Girls) Scene 8 - The Managers’ Office Notes/Prima Donna (Firmin, André, Raoul, Carlotta, Giry, Meg, Piangi and Phantom) Scene 9 – A Performance of ‘Il Muto’ Poor Fool, He Makes Me Laugh (Carlotta and Company) Scene 10 – The Roof of the Opera House Why Have You Brought Us Here/Raoul, I’ve Been There (Raoul and Christine) All I Ask of You (Raoul and Christine) All I Ask of You (Reprise - Phantom) Scene 11 – The Curtain Call of ‘Il Muto’ Act II – Six months later Scene 1 – The Staircase of the Opera House – New Year’s Eve Masquerade/Why So Silent (Full Company) Scene 2 – Backstage – Raoul and Madame Giry Scene 3 – The Managers’ Office Notes/Twisted Every Way (André, Firmin, Carlotta, Piangi, Raoul, Christine, Giry and Phantom) Scene 4 – A Rehearsal for ‘Don Juan Triumphant’ Rehearsal (Carlotta, Piangi, Christine and Chorus) The Phantom of the Opera/Little Lotte (Reprise - Christine) Scene 5 – A Graveyard in Peros Wishing You Were Somehow Here Again (Christine) Wandering Child/Bravo Bravo (Phantom, Christine and Raoul) Scene 6 – The Opera House Stage Before the Première Scene 7 – ‘Don Juan Triumphant’ The Point of No Return (Phantom and Christine) All I Ask of You (Reprise - Phantom) Scene 8 – The Labyrinth Underground Down Once More/Track Down This Murderer (Full Company) Be My Guest, Sir/The Point of No Return (Phantom,Christine and Raoul) All I Ask of You (Reprise - Christine and Raoul) Masquerade/The Music of the Night (Reprise - Phantom) Scene 9 – Beyond the Lake - FINALE (Christine, Raoul and Company) 21

Production Team CLOC Patron DIRECTOR : Chris Bradtke SPECIAL PROPS : Justin Green, Gunter Blum, MUSICAL DIRECTOR : Andy McCalman Trevor Blum, Robert Celeste CLOC Musical Theatre is a John-Michael Howson CHOREOGRAPHER : Wendy Belli ENGINEERING : Peter Turley member of the Music Theatre OAM PRODUCTION MANAGER : Debbie Osborne PHANTOM MASK : Peter Turley, Louise Jenkins, TECHNICAL DIRECTOR : Grant Alley Patsi Boddison Guild of Victoriaw STAGE MANAGER : Sandra Davies ARMOURER : Len Steel assisted by Craig Dixon ASSISTANT TO THE DIRECTOR : Debbie Osborne FIGHT DIRECTOR : Robert Shook CLOC Committee Members PYROTECHNICS : Airwise Pyrotechnics SET DESIGNER : Brenton Staples President Administrator SET PAINTING : Brenton Staples, John Burrett, STAGE CREW : Michael Bates, Gordon Bull, Michael Curtis, Grant Alley Sandra Davies John Shelbourn, Graham McGuffie Heidi Crook, Laura Day, Craig Dixon, David Hobbs, BACK DROP: Chris White Mark Houghton, Nikki Imberger, Howard Irvine, Ellen Lurie, Secretary Treasurer TECHNICAL DESIGNER : Grant Alley Matt McLaughlin, Jackie Mates, Nici Moller, Chay Moran, Barry Venning John Davies SET CONSTRUCTION : Grant Alley Ian Simmonds, Michael Vayro, Natalie Vincent, Neville West, ASSISTED BY: Patsi Boddison, John Davies, Noel Hall, Erin Williamson Committee Committee Tony Hall, Bernard Hedger, David Hobbs, Malcolm Lutchner, Janet Cameron Carol Humphrey Brenton Staples, Peter Turley, Michael Vayro, Barry Venning THANKS ALSO TO : Damien Calvert, Peter Leed, Mark McDowell, Fyfe Meggs, Peter Thompson Committee Committee SOUND DESIGNER : Marcello Lo Ricco (LSS Productions) Cameron Osborne Debbie Osborne SOUND OPERATION : Nick Liley MARKETING CO-ORDINATORS : Sandra Davies, SOUND EFFECTS OPERATOR : Josh Mattielli Cameron Osborne Committee Committee STAGE SOUND TECHNICIAN : Johnny Lo Ricco MARKETING TEAM : Grant Alley, Jocelyn Clarke, Allan Paul Melinda Peebles ASSISTED BY : Natalie Coleman Craig Dixon, Karen Greenwood, Bianca Milewski, SOUND CREW FOR BUMP-IN & BUMP-OUT : Steve Cooke, Jan Sheppard, Peter Stanbrook, Craig Wiltshire Marcello Lo Ricco, Nick Liley, Phillip Pietruschka, PROGRAM : Cameron Osborne Jake Santinon, Kieran Santoso GRAPHIC ART/DESIGN : David Clark at The Wizarts SOUND EQUIPMENT: LSS Productions Pty Ltd PHOTOGRAPHY : Richard Crompton , Carlos Ramirez, Stephen Ransom LIGHTING DESIGNER : Stelios Karagiannis PRINTING : Fineline Printing, Miss Print ASSISTED BY : Linda Hum ADMIN SUPPORT : Janet Cameron, Karen Greenwood, LIGHTING BOARD OPERATOR : Rohan Fotheringham Debbie Osborne FOLLOW SPOT OPERATORS : Patsi Boddison, David Boddison-Gray, Naomi Boddison-Gray, TICKET SALES : Carol Humphrey, Cheryle Osborne, Fay Tina Boddison-Gray Lutchner, Malcolm Lutchner, Peter Miller, Jan Sheppard LIGHTING CREW FOR BUMP-IN & BUMP-OUT : FRONT OF HOUSE CO-ORDINATORS : Meryl Withers, Patsi Boddison, David Boddison-Gray and Linda Hum of The Peter Witney National Theatre BOX OFFICE MANAGERS : Grant Alley, Barry Venning ASSISTED BY : Carol Humphrey, Cheryle Osborne COSTUME DESIGNER : Nerissa Saville DUTY MANAGERS : Ian Carlsson, Nick Jones, COSTUME CONSULTANT : Nancy Matthews Jan Sheppard, Barry Venning, Meryl Withers, Peter Witney COSTUME CO-ORDINATOR : Melinda Peebles CATERING : Paul Belli, Tony Hall, Kelly Hall, ASSISTED BY : Carol Humphrey, Allan Paul Lincoln Judd, Maggie Judd MILLINERY : Emily Smithies FIRST AID : Ian Simmonds ASSISTED BY : Tina Scott, Denia Emerson REHEARSAL PIANISTS : Danny Forward, Jack Earle, COSTUME ASSISTANTS : Jenny Barratt, Ruth Benney, Tim Verdon, Jerome Walles, Martine Wengrow Ella Bradshaw, Marinella Celeste, Lara Conway, STAND-IN FOR ERIK MULHEIM : Richard Perdriau Amy Dawson, Jacqueline Day, Lorna English, Eva Fabian, STAND-IN FOR CHRISTINE DAAÉ : Kelly Windle Vicky Horne, Chloe Neyland, Sandy Nicholson, Frances Penington, Nancy Pizzi, Delwyn Poyser, CLOC PATRON Cheree Sextron, Kara Short, Erika Sudarevic, Emi Tibballs, John-Michael Howson OAM Blanche White, Susan Windle CLOC COMMITTEE WIG DESIGNER & MAINTENANCE : David Wisken PRESIDENT : Grant Alley ASSISTED BY : Jenny Barratt, Fran Rasseo ADMINISTRATOR : Sandra Davies HAIR TEAM : Bianca Becker, Jody Drago, Madeline Notley SECRETARY : Barry Venning WIGS SUPPLIED BY : Joseph Pannucio at TREASURER : John Davies clutchingatcurls.com.au COMMITTEE : Janet Cameron, Carol Humphrey, Cameron Osborne, Debbie Osborne, Allan Paul, MAKE-UP CONSULTANT & PHANTOM MAKE-UP : Melinda Peebles Louise Jenkins ASSISTED BY : Natalie Della Grazia ACKNOWLEDGEMENTS MAKE-UP TEAM : Sarah Bielefeld, Carolyn Buckley, Thanks to Assistant to the Treasurer-Mike Strahan Tessa Kilner, Holly McDowell, Shea O’Laughlin Ziva and Mike Rayman Thanks to all friends of CLOC who work Front of House STAGE DIRECTOR : Bernard Hedger Thanks to the staff of The National Theatre ASSISTANT STAGE MANAGER : Rosie Correll Frank Simcox for Audio Visual Services FLOOR MANAGERS : Paul Belli, Robert Griffin Ray Rooney at Reveal Studios FLY MANAGER : Tony Hall DRESSERS’ CO-ORDINATOR : Melinda Peebles CLOC acknowledges the support of Wendy Black from ASSISTED BY : Janet Cameron, Hannah Campbell, Swinburne University of Technology Bianca Milewski, Chloe Neyland, Allan Paul, Erika Sudarevic, Karen Warrington CLOC acknowledges the support of the City of Kingston CLOC Musical Theatre SET DRESSING : Crisanne Fox assisted by Anne Bravos PO Box 3250 Mentone East Vic 3194 PROPS CO-ORDINATOR : Beth Stryk ASSISTED BY : Jodie Lawson, Karen Greenwood, Ticket Enquiries: 1300 362 547 Sarah Nichols, Tegan Vincent Web: www.cloc.org.au Email: [email protected] 22



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The Astor Theatre is a proud sponsor of COHSITRUEME CLOC Musical Theatre. TThhoouussaannddssooffccoossttuummeess,,ssttaaggeepprrooppssaanndd ASTOR THEATRE LOGO DESIGN For What’s On at the Astor Theatre, TOR THEATRE LOGO DESIGN ffuurrnnitituurree..FFrroommSSuullilvivaannttooSSoonnddhheeiimmYYoouudownload the movie calendar at: GRAPHICDESIGN / ILLUSTRATION / PHOTOGRAPHY kknnoowwtthheessttaannddaarrddooffoouurrccoossttuumminingg!!Charlie Kinross www.charliekinross.com.au / [email protected] / 0414689681 www.astortheatre.net.au GRAPHIC DESIGN / ILLUSTRATION / PHOTOGRAPHY Phone: 9510 1414 Charlie Kinross www.charliekinross.com.au / [email protected] / 0414 689 681 1R3R9i0inn8gg05AAl89llaa2nn56nn3oow75wo87onn8 Cnr Chapel St and Dandenong Rd, St Kilda CREATIVE FRAMERS Est. 1983 Proudly sponsors CLOC 115 Highbury Rd., Burwood Ph: 9888 8225 OPEN MONDAY ~ SATURDAY 9am ~ 5pm PICTURE FRAMERS-RESTORERS-LIMITED AND OPEN EDITION PRINTS 25

3AW. Social media since 1967. Social media. It’s the almost unrestricted flow of information and ideas. It’s interactive, empowering and entertaining. It puts media power in the hands of the people. Sound familiar? That’s because a different kind of social media has been with us since 1967 – talkback radio. And 3AW was right there at its genesis. 3AW. It’s social media at its best – 24/7 and now with over 650,000 dedicated followers every week. Now that’s something to tweet about! @3AW693 26

Co-Directors Chris & Lynette White Choreographer Lynette White Musical Director Phillip Osborne 27

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