Wednesday, 18 March 2015

Hiawatha - WAAPA (17 March 2015)

In many ways it is fitting that the program notes only list the names of the 19 members of the second year musical theatre class in this their first public outing as WAAPA students. It is a true ensemble piece with everyone given an opportunity to shine. It makes it a little difficult, however, to identify who is who with no roles assigned. But there’s plenty of time over the next two years to put faces to names and become familiar with this next wave of talented performers. I do know some and can make a guess at others but I apologise in advance for any incorrect attributions and the unavoidable omissions in what follows. 

This is also the first time I’ve seen a show at the amphitheatre and it’s a really nice venue that allowed for the creation of mood in the open air space with lovely use of lighting, sound and smoke effects. Unfortunately it also meant that shows had to be cancelled early in the run due to the inclement weather. While it threatened to rain late in proceedings it turned out to be a really great night for what was an evocative treatment of the Henry Wadsworth Longfellow epic poem. Most impressively it allowed the musical theatre students to showcase several facets of their craft with singing, though present, taking a back seat. The focus was more on acting, vocal projection, movement and dance with the at times acrobatic ensemble work showing off the athletic prowess of the cast.

The poem is presented in its chapters with a rotating roster of female narrators after an opening Introduction featuring Jason Arrow. While the narrator addresses the audience, the featured actors in the scene with accompaniment from the ensemble give a stylised representation of events. I particularly liked how certain battles were handled where the use of magic is implied and the depiction of various animals including the bear that Mudjekeewis (Joshua Firman) kills. Hiawatha himself is played by a rotating roster of actors with only characters like Mudjekeewis, Nokomis (Melissa Russo) and Minnehaha (Christina Odam) undertaken by the same actor during the entirety of the piece.

Music is provided by one or two cast members just off stage, again this task being rotated through different performers. It was predominantly drum and percussion heavy with some additional sound effects added for eeriness or even slight comic effect. These rotations between narrators, Hiawatha, and music duties were seamless. I also liked that the cast were often dispersed at the rear of the audience and during The Hunting of Pau-Puk-Keewis their animal sounds from behind and facing away from us echoed off the surrounding buildings to great effect.

The back of the set had a large drape covered with constellations and the moon (or sun depending on lighting cues) made from feathers. The stage floor had a cloth covered in different symbols which I initially took to mean the different Indian nations that Hiawatha brings together though could have signified geographic locations. The cast were uniformly costumed (with some temporary exceptions for certain minor characters) again highlighting the ensemble nature of the work.

Mood and tone were very important to the piece and two moments that highlighted this were Minnehaha’s death during the famine that was particularly well handled and the Ghosts (Katherine Schmidli and Rebecca Cullinan) that visit Nokomis, Minnehaha and warn Hiawatha in the preceding chapter. And even though singing wasn’t featured there was enough here to get excited for the group’s subsequent foray into musicals.

This was a strong introduction to the second years as it showed so many different aspects of their undoubted ability and potential, but also worked as a standalone piece of theatre that did justice to the great American poem. A nice touch that I really enjoyed was that the cast greeted and chatted to the audience before the show which gave everything an informal, relaxed air.

Directed by Crispin Taylor with Choreography by Claudia Alessi, Hiawatha stars Jason Arrow, Hayden Baum, Embla Bishop, Hannah Burridge, Stefanie Caccamo, Rebecca Cullinan, Andre Drysdale, Marissa Economo, Joshua Firman, Mikey Halcrow, Matthew Manahan, Christina Odam, Jens Radda, Ashley Roussety, Melissa Russo, Katherine Schmidli, Nathan Stark, Stephanie Wall and Samuel Welsh with only two more shows on 18-19 March.

Tuesday, 17 March 2015

Urinetown - WAAPA (16 March 2015)

What a thrill to have a show grab you by the throat from the opening moments and not let go until the cast is taking well deserved bows. This is a spectacular production of a very funny and irreverent musical and I have to say, it knocked my socks off.

The tone is immediately set with a self-aware and satirical narration by Officer Lockstock (Chris Wilcox) that tells you this ain’t going to be your standard musical, my friends. Wilcox gleefully debunks and mocks the usual expectations of a musical throughout as he directly addresses the audience. He foreshadows plot points, what to expect in the 2nd act, and updates us after intermission amongst other mischief. Most of all he tells us this isn’t one of those happy musicals which is reflected in a subversive ending.

The opening number Too Much Exposition by Lockstock and the Company had me chortling away happily. We quickly learn that this is a world where you have to pay to pee and control of public urinals is strictly maintained by representatives of Urine Good Company or UGC. Most notably urinal number 9 is the province of Penelope Pennywise (Megan Kozak) and if you can’t cough up the pennies you can’t pee.

If there’s such a thing as a show stopping number in only the third song of the evening then Kozak delivers it with a stunning It’s a Privilege to Pee. With a powerhouse voice and attitude to burn as the hardened warden this is an early highlight. The show starts with a bang and quickly had me in its pocket for the crazy ride.

Of course, with such a repressive regime one needs a budding young hero. Enter Bobby Strong (Jacob Dibb) who is motivated to act after his father Old Man Strong (Morgan Palmer) is shipped off to Urinetown for peeing in public. Dibb plays the earnest hero who is told to follow his heart (warning, obligatory love interest coming up) which leads to outright rebellion, with a straightforwardness that grounds the craziness around him. He also sports a fabulous voice with Look at the Sky and Run, Freedom, Run! among others utilising it to good effect. His duet with Rosabelle Elliott Follow Your Heart was a highlight and it’s a little unfortunate there was no break in the action to allow for applause at its conclusion.

The love interest is Hope Cladwell (Elliott) who just happens to be the daughter of the architect of this draconian social and political hierarchy, Caldwell B Cladwell (Matthew Hyde). Bobby doesn’t know this at first though and their relationship goes through several, shall we say, captive moments. Elliott nicely plays the arc from bubbly innocent that can fax (and copy) to something far more formidable in the second half before suffering an unfortunate coda in the finale. Yes, it really isn’t one of those types of happy ending musicals!

Hyde gets to play the ‘evil’ head of UGC but the character has a strong rationale for his actions which allows for some texture even when he’s selling his daughter down the (metaphorical) river. Taryn Ryan gives good support as the canny street kid Little Sally who acts as a counterpoint to Lockstock’s observations as a faux second narrator of sorts. The rest of the cast play either ‘the poor’ of Bobby’s revolution or representatives of the ruling hierarchy. I liked that the beginning of the second act allowed for the ensemble to be featured with Jess Phillippi as the pregnant Little Becky Two Shoes and Daniel Ridolfi, her partner Hot Blades Harry in particular having strong moments.

Having said that the cast are uniformly excellent from the Poor’s Josephine Strong (Baylie Carson) to Kate Thomas’ Soupy Sue who has quite the amusing challenge for one of the occupants of the front row (of which no more shall be typed); to Lockstock’s sidekick Officer Barrel (Callum Sandercock) and the smarmy politician Senator Fipp (Harry Prouse). That’s because while the singing is very good indeed the choreography is simply outstanding. There is so much kinetic energy in the numbers and it is performed with such foot stomping ferocity, at times only a metre or so away if you’re in the first row. The performers were regularly in your face often imploring you for a coin or scowling as matters turned darker. At one point when Dibb offered me his hand I wasn’t sure if I was about to be hauled on stage (thankfully not!). That immediacy and intimacy was compelling.

Above all else this is very, very funny with a subversive tone that I found wonderfully appealing. The songs are great with many moments where I wanted to clap along or start bopping away. The orchestra under David King’s direction was excellent and discreetly tucked away behind the centrepiece of the grimy public urinals atop which were the UGC offices. Yes, ‘symbolism!’ All elements of performance, vocal quality, musicianship, costuming, stage, and lighting were top notch. The only slight detraction was a few technical problems with microphone pickups but, to be honest, I was so engrossed in this that it hardly mattered.

If this class announced themselves last year with Children of Eden then they just added a huge punctuation mark with Urinetown. 

A must see show with Music by Mark Hollmann, a Book by Greg Kotis with both writing the lyrics; Directed in fine style by James Millar, with David King as Musical Director and Bernie Bernard as Choreographer. It features the 3rd year musical theatre class of Jacob Dibb, Rosabelle Elliott, Chris Wilcox, Taryn Ryan, Callum Sandercock, Megan Kozak, Matthew Hyde, Harry Prouse, Heather Manley, Alex Thompson, Jess Phillippi, Daniel Ridolfi, Matilda Moran, Baylie Carson, Morgan Palmer, Kate Thomas, Joe Meldrum, Joel Granger and Tayla Jarrett. It runs until Saturday 21 March at The Roundhouse Theatre. Go see it!    

Sunday, 15 March 2015

Dinner - Black Swan State Theatre Company (14 March 2015)

Saturday night was the first preview of the Moira Buffini black comedy Dinner starring Rebecca Davis, Stuart Halusz, Greg McNeill, Kenneth Ransom, Steve Turner, Alison Van Reeken and Tasma Walton and directed by Kate Cherry. It is the tale of the dinner party from hell as hostess Paige (Walton) celebrates the successful release of her husband’s self-help book with a few select friends.

It quickly turns out that Paige and her spouse Lars (Steve Turner) aren’t exactly the happiest of couples as they await the arrival of artist Wynne (Van Reeken) and her politician beau Bob (a no show due to a breakup prompted by an unfortunate Wynne portrait); and Sian (Davis), the jaded “sexpot” newsreader, and her older husband, microbiologist Hal (McNeill) on a foggy English evening. An imposing waiter (Ransom), especially hired for the evening, has explicit instructions as he silently goes about his work. Paige is put out by Wynne’s solo arrival as everything has been carefully planned. A further spanner is thrown into the works when Mike (Halusz) turns up asking to use a telephone after having an accident due to the fog. 

What follows is a bout of verbal sparring as the bitchy Paige serves increasingly ridiculous dishes seemingly designed to humiliate her guests and husband. Mike’s arrival adds a new dynamic as his real purpose for being there is revealed and he is decidedly not of the usual ilk these people would associate with. A further trial is introduced as Paige insists on a game to be played whereby she asks each person in turn to spend two minutes talking to a subject she has placed in separate envelopes. It all ends in tragedy as twists and revelations come to the fore.  

While the plot is really no more than an excuse to put various character types in close proximity and watch them dangle, there are some genuinely funny moments here. Walton, resplendent in a figure hugging designer gown, is all tightly wound vitriol as she prods and torments and abuses all and sundry. Davis, elegant and leggy in another designer dress, is blunt and aloof as Sian amusingly speaks her mind without any kind of filter or care for others’ judgements. Turner gives Lars a certain self-satisfied smugness with all the self-help mumbo-jumbo a counterpoint to Paige’s venom. He portrays the husband’s increasing annoyance and frustration with her more as a slow fuse than outright explosion.

Van Reeken’s Wynne who is in love with Lars is the sort of new age, vegetarian, earth mother artist who despises the C word (which gets quite the work out) that would rile any dinner guest after a while. McNeill’s Hal is accomplished but unhappy even with a new trophy wife. Paige’s attacks on him, particularly in reference to his first wife and love of his life, are most cruel. Then there’s Mike who is a necessary wildcard to proceedings and a catalyst for further mischief. Halusz initially plays him as the straightforward working class man who has stumbled into something out of his usual reckoning but slowly becomes cockier as he takes stock of who he’s up against. That he forms an alliance of sorts with Paige is most subversive. 

The dinner table is set on a revolving platform that is always in motion as the meals are served which allows us to see all of the actors’ expressions and reactions as scenes progress. The table itself and chairs are see-through plastic to help with visibility in what otherwise could have been a static and visually awkward presentation. I especially liked the use of smoke effects to depict the fog whenever the outside door was opened as various characters escaped for a breather or to liberate misfortunate crustaceans. Indeed the ‘live lobsters’ were a fascinatingly dark comic moment.

There were points the pace flagged – notably when the two minute discussions switched to Lars and Wynne’s back story. Other characters became mere spectators especially the up-to-that-point talkative Mike so it felt a little artificial and also a curious sequence in that it seemed to favour Lars instead of belittle him. Given the ending (which, for mine, was telegraphed anyway), I also didn’t quite understand what Paige’s real intentions were in the various ‘movements’ of the dinner. The Mike character ultimately felt like a device as the writing seemed to vacillate about who and what he really was depending on the situation.

However, if you like your comedy jet black and your insults like a dagger to the heart you’ll enjoy Dinner with its absurdist culinary delights and vitriolic dialogue. There are two more previews on Monday and Tuesday with the show opening on Wednesday 18th March and running until 29 March.

Pride and Prejudice - WAAPA (14 March 2015)

The third year acting class opened their graduating season with an adaptation of this much beloved literary classic. Certainly, audience members around me were more than familiar with the tale of manners, upbringing and marriage in 19th century England as they whispered excitedly at certain character introductions. With so many adaptations of the famous novel for the screen both large and small, forging a unique identity for this production was always going to be a challenge. However, it certainly presented the actors with the opportunity to play such iconic characters.

The story itself doesn’t bear repeating here other than to say that the five Bennet daughters are in search of a suitable husband in an age when such things were of vital import but it’s Elizabeth’s entanglements with Mr Darcy that is the main attraction. What I particularly liked was the amount of humour throughout the play driven in large part by Mr and Mrs Bennet (Luke Fewster and Harriet Gordon-Anderson), the former bemused by the antics of his wife who is fixated on marrying off her daughters to men of good fortune.

Gordon-Anderson is a standout with an eye-catching performance as Mrs Bennet that is all fussy insistence and pointed put-downs. She has excellent projection and diction with her use of deft comic timing a highlight. Fewster employed a droller sense of delivery that was a lovely counterpoint and their work together was impressive.  

Jessica Paterson was very good as Elizabeth Bennet and really worked into the role coming into her own in the second half as she inhabited the witty and clever though willful character. There was an ease and charm to her performance that was a delight. Lincoln Vickery had the unenviable task of playing the iconic Mr Darcy (yes, I heard Colin Firth’s name mentioned more than once during the afternoon) and while he gives a good account of himself the sort of presence and magnetism such a character demands will come with experience.

Other performances I really enjoyed included Seamus Quinn as the pompous Mr Collins who imbued his character with a kind of sleazy charm that had the audience cringing in the best possible way. Rebecca Gulia played Lydia Bennet with a childlike petulance and naivety that worked really well especially in the second half as she becomes the first of the daughters to unexpectedly marry, eloping with the dashing Mr Wickham (Andrew Creer). 

Then there was Megan Wilding as the Lady Catherine whose confrontation with Elizabeth was a dramatic high point. As she did last year in Grapes of Wrath, Wilding plays a matriarchal figure with great force and authority that belies her stature. The rest of the cast gives good support, especially Brittany Morel, Claudia Ware and Stephanie Panozzo as the other Bennet sisters. I must also mention the accent work which was strong across the board and is clearly a featured component of the acting course.    

The set featured a revolving circular platform so that scene transitions were effectively done though occasionally actors appeared to be searching for marks as they placed and re-positioned furniture to represent the various locations. The walls were covered in gold material that seemed to represent the ostentation of the time. That didn’t really work for me though the stage itself was simply though effectively appointed with a piano featured. There were four doorways leading onto the stage and at one point two were used to represent full length portraits of Darcy and Wickham as the actors stood stock still to great effect. I also liked how various letters were treated especially in the rapid sequence of correspondence at the end – while the receiver ‘read’ the letter the actor whose character wrote it would recite the words behind them.

Adapted by Simon Reade from Jane Austen’s novel and directed by Adam Mitchell, Pride and Prejudice features the 3rd year acting class of Luke Fewster, Harriet Gordon-Anderson, Brittany Morel, Jessica Paterson, Stephanie Panozzo, Rebecca Gulia, Claudia Ware, Seamus Quinn, Dacre Montgomery, Shalom Brune-Franklin, Rian Howlett, Elle Harris, Megan Wilding, Lincoln Vickery, Ben Kindon, Andrew Creer, Bevan Pfeiffer, and Hoa Xuande and is on at the Geoff Gibbs Theatre until Thursday 19 March

Saturday, 14 March 2015

Marat Sade - WAAPA (13 March 2015)

One of the great joys of the initial season in a new year of WAAPA productions is witnessing the second year students being unleashed on the public for the first time. In this case the acting students but it was lovely to see so many of the second musical theatre students in the audience as well (whose turn comes with Hiawatha starting tonight). Both classes will become very familiar to those who regularly attend WAAPA shows over the next two years. For now it’s getting to know who these talented performers are and what an introduction this play, indeed quasi-musical, provides!

Set in 1808 where a play is being performed in an insane asylum directed by none other than the Marquis De Sade (Angus Mclaren), it explores the events leading up to the murder of revolutionary Jean-Paul Marat (Will Mcneill) by Charlotte Corday (Kate Betcher) in 1793. The inmates play the roles while Sade watches on amused as their re-enactment morphs into an indictment of the French Revolution and the very institution in which the play is being staged. 

This is observed in growing horror by a representative of the Bonaparte regime, Coulmier (Lachlan Ruffy) who insists that it is now a different, enlightened time. The inmates’ disagreement leads to events that parallel the very revolutionary fervour they act out. All the while Sade, playing himself, has philosophical discussions with Marat about the nature of revolution and of human nature itself. In the end the poor are still poor and the revolution delivered a greater dictator in the form of Napoleon than the king they overthrew and beheaded. What then was the point? Does man’s essential nature render revolution redundant?

This play within a play is a dense dialectical discussion delivered in rhyme and song with several complex layers that make it challenging but also entertaining and unpredictable. The songs, as noted by Musical Director Timothy How in the program, are not in the accepted tradition of musical theatre but are deliberate interruptions to the narrative flow to provide commentary and reinforce political and social points of view. 

The work of Gabrielle Mickel, Rory O’Keeffe, Giuseppe Rotondella and Brittany Santariga as the four major singers was a real driving force in their colourful and energetic representation with full throated vocal performances. In the intimate configuration of the Enright Studio there were times they were up close and their eye contact was very good with the audience as they mocked and cavorted and implored.

George Pullar as the Herald who sets the play within a play in motion and announces the scenes (and reminds inmates of their lines from time to time) was a strong presence throughout. There was a slyness to his performance that I enjoyed. Mclaren is ever the provocateur as Sade with his showcase moment coming when he is voluntarily whipped by a female inmate as he rails against the revolution. Betcher has a sweet voice as Corday but was much stronger in the second half as the deed is finally done and her depiction as a narcoleptic inmate seemed more credible.

Alexander Daly injected earnest urgency as Jacques Roux who beseeches the inmates and revolutionaries alike to open the granaries and feed the poor all the while being straight-jacketed and ill-treated by the male nurses. Kieran Clancy-Lowe plays (an inmate who plays) Duperret as a fop who only has sexual designs on Corday but is thwarted at every turn. Given that it’s the notorious Sade directing the play within the play, carnal desire and sexuality is an ever present undercurrent that bursts into a tidal wave of frenetic energy during the ‘Copulation’ sequence that is bawdy and gleefully performed.

Then there is Marat himself who is afflicted with a skin disease that forces him to take soothing baths administered by his carer Simonne (Sarah Greenwood). Mcneill has the tricky task of playing a damaged inmate while also rising to the task of debating Sade as the revolutionary who still plots and schemes on the very day of his murder. It is a conceit of the play that a dysfunctional patient could hold his own in such discussions but Mcneill does well particularly in the more rousing moments as Marat. Greenwood gives Simonne a physical affliction and is all twisted and shuffling as Marat’s carer. More than once I felt her malevolent one eyed stare as she glowered at the audience.

Timothy How adds musical texture on the harpsichord while the costuming and makeup is excellent. Director Andrew Lewis makes full use of the black box space with actors clambering up poles along the wall and moving behind and through the audience who are seated on all four sides. 

Talking briefly to an audience member who saw the original production at the Playhouse Theatre in 1966 the one element that was perhaps missing was a sense of ‘danger’ – the audience is a surrogate for those watching at the insane asylum but at no point is there any real sense of ‘threat’ from the inmates. Having said that, I enjoyed this dense and layered play and it is a promising introduction to the second year acting class.

Written by Peter Weiss, Directed by Andrew Lewis, Musical Director Timothy How and featuring the 2nd year acting class of Miranda Aitken, Anneliesse Apps, Kate Betcher, Kieran Clancy-Lowe, Alexander Daly, Joel Davies, Sophia Forrest, Sarah Greenwood, Angus Mclaren, Will Mcneill, Gabrielle Mickel, Rory O’Keffe, Emma O’Sullivan, George Pullar, Lukas Radovich, Giuseppe Rotondella, Lachlan Ruffy, Brittany Santariga and Megan Smart, Marat Sade is at the Enright Studio until Thursday 19 March.

Wednesday, 4 March 2015

Spring Awakening - Hayman Theatre Company (3 March 2015)

I remarked to one of the actors that I needed to “think about the play” as we were talking after the show. She replied along the lines of, “you always say that about the shows I’m in.” That may indeed be true but is testament to the sort of interesting material I've seen performed by Curtin University's Hayman Theatre Company in the last year or so.  

I found Spring Awakening, a play I was not familiar with (and distinct from the much later musical adaptation), to be quite challenging. Its language is as dense as its thematic complexity and I had not expected the two and a half hour running time (plus intermission). It demanded a lot of its audience and certainly did of its actors. For a student production it is an audacious choice and there is much to admire about the result. However, some actors fared better than others with the incredibly difficult dialogue that at times was alliteration happy and a little florid to my modern ears. It also felt overwritten and could have used some judicious editing but perhaps that is more to do with present day attention spans more than a century on from its original conception. Having said all that, a great deal of thought and skill has gone into its staging.

The story itself, in essence, centres around two 14 year olds – Wendla (Beth Tremlett) and Moritz (Alexander Gerrans) - who are totally unprepared for their sexual awakening; and the impact a more self-aware Melchior (Sean Guastavino) has on both of their lives resulting in his own demise. Rape, abortion, suicide, depression, and the recriminations and judgment of the “powers-that-be”, whether parents, teachers, or the church, marked this as controversial in its day. It still packs a wallop even now and there is an undercurrent of very black humour throughout.

I must admit it began to coalesce into something far more cohesive for me in the second half when the ramifications of the ‘sins’ in the first two acts are ‘judged’. In many ways, as I remarked to the director afterwards, A Clockwork Orange reminded me of it in that regard. That Melchior is ‘put on trial’, rightly for his treatment of Wendla and unfairly for ‘educating’ Moritz, and his defiance in the face of withering condemnation is compelling. The play takes a surreal turn at the end when he is confronted by two figures in a graveyard having escaped the reformatory he was banished to by his parents. The identity of one of these is not in doubt; the other defiantly mysterious. It is left to the audience to decide what Melchior’s fate will ultimately be.    

This is perhaps the best looking production I have seen at the Hayman Theatre Upstairs. It is beautifully lit with a clear distinction in lighting choices between the two halves as the realism of the first two acts gives way to the symbolism of the third. The stage is well presented with a ramp that the actors could clamber on, under, and through; a divan; and multitudes of paper strips depicting the winter forest very effectively. Actors also perched themselves along the side walls of the theatre to great effect. There was the appropriate use of ominous or evocative music as the scene demanded.

The costuming was excellent and I particularly liked the work of the ensemble to re-enact key events in the back stories of the principals or add texture and context. They were mostly clad in old fashioned white cotton attire that was evocative and a representation of ‘purity’.

To the performances and Tremlett inhabits Wendla with great spirit but her character is undone by a dangerous naivety fostered by her Mother (Kayla MacGillivray). The importance of knowledge, especially in regard to sexuality is a major thematic component. That Wendla is denied this knowledge makes her vulnerable and Tremlett plays this confusion well. That the ultimate arc is one of tragedy, the transformation from high-spirited innocent to being physically and emotionally crippled is well rendered. Guastavino plays Melchior with a calm resoluteness and sweet smile that belies the terrible acts his character commits especially against Wendla, the worst of which is harrowing and drew an audible exclamation from an audience member behind me. Gerrans battled gainfully with some truly difficult blocks of dialogue but admirably retained his composure though he was the least confident of the three with the language. His reappearance in the third act, however, was well done as it echoed the story Moritz had told (and discounted) earlier.

The support was very good with Jeremy Bunny impressive as Hansy; Gemma Middleton revelling in a long monologue as Ilse; Amelia Tuttleby particularly forceful as Melchior’s mother; and Savannah Wood playing varying roles as she brought what otherwise would have been straight verbal descriptions to vivid, at times, wailing life. Nathan Whitebrook gives a charismatic cameo at the end.

The acts of violence are well-handled and, as mentioned, director Teresa Izzard utilises the ensemble to give this real movement and energy as well as allowing all the actors to maximise the potential of the performance space. It is at times a difficult watch but a rewarding one as it prompts discussion and further thought which is always to be embraced. 

Spring Awakening is directed by Teresa Izzard with a translation of the original German script (Frank Wedekind) by Jonathan Franzen, and stars Jeremy Bunny, Jarryd Dobson, Alexander Gerrans, Sean Guastavino, Kayla MacGillivray, Gemma Middleton, Aaron Smith, Terence Smith, Beth Tremlett, Amelia Tuttleby, Nathan Whitebrook and Savannah Wood. The show is at the Hayman Theatre Upstairs and runs until Saturday 7 March.