Give me a flute of bubbly in a crowded theatre foyer and I’m the happiest girl in the world.

I love clinking a glass with friends and colleagues to celebrate the work of our wonderful Aussie talent and, let’s face it, it’s quite nice to have a bevvy in the evening now, isn’t it?

However, those who know me well will know that the next 31 days are going to be tough. I am giving it all up. Oh, yes. No more clinking champagne flutes in foyers. No more warm reds with dinner. No more nightcaps to help me wind down after a show. No more Thirsty Thursday ciders. No, ladies and gents –  I’m going dry. For July.

AHHHHHHHH! (Keep calm, keep calm).

It’s not a new thing for me, this ‘Dry July’. In fact, 2013 marks my third year participating in what is likely to become something of a tradition, but this year and from now on, taking part in Dry July isn’t just a month off the booze. It’s much, much more than that.

For those who aren’t aware, Dry July is a non-for profit fundraising event which takes place across the month of July. Participants in the event give up alcohol for the month and any donations to support their efforts go towards helping adults living with cancer across the country.

This year, my Dry July journey is in support of my wonderful mum, who has just completed almost 9 months of treatment for breast cancer. Now, anyone who has come into contact with cancer as a reality in their lives (and I know that is a LOT of people) will know that the treatment and recovery involves a lot of time in hospital. That’s where the Dry July event comes in. Funds raised by all Dry July participants – or “DJs” – go towards facilitating implementation of patient monitoring software, chemotherapy treatment chairs, electronic lift chairs, installation of flat-screen TVs, renovation and painting of wards, replacement of furnishings within Palliative Care, family stay area upgrades and waiting area upgrades and the like in hospitals across the country. More specifically, any money raised from my individual efforts will be passed directly the hospital in Newcastle where my mother underwent much of her treatment.

I had long suspected that my mum was the strongest woman I know, and over the course of the last 9 months, I have come to realise my suspicions were correct. No matter what life throws at her, no matter what the hardship, she has and will respond with positivity, love and a strength that I can only aspire to possess.

So, this month I am going to test my strength by not accepting the red wine with dinner, the celebratory drink at my finance’s birthday party, the champagne in at interval during Legally Blonde, and proving that I too, can be strong. I know that the situations don’t compare at all. I know that giving up the luxury of choosing to have a glass of wine every now and then is not a difficult undertaking, and completing the task uses only a fraction of the strength needed to endure the treatment for any kind of cancer. But I want to help, I want to show support and this is a way I can do so AND create an awareness for a charity I believe in.

The Dry July event is a fantastic cause and it’s very dear to my heart. If you want to sponsor my Dry July efforts, head along to my Dry July profile. AussieTheatre is currently averaging over 90000 visits per month – if everyone gave $2 to the cause, we could make a huge difference.

Better still: join my team! Go Dry with me next month and together we can make a difference to many individuals and families across the country! You’ll feel better at the end, I promise. Healthier, happier and satisfied in the knowledge that you were active in supporting thousands of Australians who really do need it.

All donations $2 and over are tax deductible.

Donate to Erin’s Dry July efforts here

Erin James: Keeping Calm and Going Dry this July is a post from: AussieTheatre.com

“Only in Sydney”! “Exclusive to Melbourne”! You’ve heard it before, haven’t you?

You know, the catch phrases that marketing teams use for major musicals in their debut cities. The words that are intended to attract interstate travel, generate millions of dollars in tourism revenue and are an important factor in the initial success of a musical in Australia.

Often these are the slogans which theatre audiences are apprehensive about believing because many major musicals end up touring the country anyway.

(Let’s not forget that the show’s financial success in its initial city often determines whether it tours or not, so bringing interstate revenue is an important factor in the show’s ability to tour … but that’s another column).

However, in the case of Global Creatures’ King Kong which is currently playing at the Regent Theatre in Melbourne, their catch phrase IS true. That ape is not going ANYWHERE else in Australia – anyone involved with the project has said as much to anyone who has asked for the last two years.

And they are STILL telling people. Yesterday, the team at King Kong launched the campaign

“Melbourne Only Or Your Money Back“

Global Creatures has undertaken to refund the cost of travel, ticket and accommodation for any interstate ticket buyers if the production of King Kong, currently in performance at Melbourne’s Regent Theatre, plays in any other Australian city before it heads overseas for international engagements:

“This covers not only the ticket buyer, but any other people included in the ticket buyer’s group who live outside of Victoria” they said on their website.

“Ticket buyers should keep a record of KING KONG seat number and performance date, as well as all travel and accommodation receipts.”

I think this is a fairly good indication that the show isn’t going to tour. The ‘bowels’ of the Regent Theatre have been adapted and modified extensively to accommodate all of the equipment needed to control this incredible larger-than-life sized animatronic puppet. 

In my experience, if a company are offering you money back for any reason, they are generally pretty sure they won’t have to fork out.

So if you are holding out hope that the big, beautiful beast will be travelling to a capital city near you, I suggest you let it go.

The show will travel, absolutely, but not in the land of Oz. 

No tour or your money back! King Kong is staying put – so stop asking is a post from: AussieTheatre.com

I don’t know much about North Korea, and I readily admit that I don’t understand how the Communist dictatorship works.

I don’t pretend to understand the reasons behind the execution of a dozen “well-known performers” in North Korea recently. With machine guns. Machine. Guns.

What I can do is comment on how I feel about it. I am horrified, heartbroken and furious for the artists and their families who suffered during these heinous acts. According to News.com.au today, performers from the Unhasu Orchestra and the Wangjaesan Light Music Band were executed by firing squad. One of the deceased, a former girlfriend of Kim Jong-Un was murdered while her family watched just three days after being arrested.

Read the article on news.com.au and then let it sink in for a minute. Are you still with me?

As I sit in my very comfortable office and contemplate which combination of words to string together for this article, I am reminded how very, very lucky we are as artists in this country. As anyone in this country, really. We are free to enjoy and perform works of art which allow self expression without fear of persecution. If we are accused of “breaching pornography laws”, for example, I’m certain we wouldn’t meet a firing squad and that’s just the start of it…

I’m angry. I’m astounded. I could write for hours, but even if I did, I still don’t know how that would make a real difference. So instead, I thought I’d just bring this to your attention.

What can we do about it? Can we do anything about it? Please let me know your thoughts…

North Korea executes performers by firing squad over alleged ‘porn scandal’ – WHAT? is a post from: AussieTheatre.com

It’s been doing the rounds on Facebook today already, but in case you haven’t seen this little sizzle reel from the Hayes Theatre Co’s debut production of Sweet Charity, we suggest you take a peek!

Sweet Charity at the Hayes Theatre Co. Image by Kurt Sneddon

Starring Verity Hunt-Ballard, Debora Krizak and Martin Crewes this production has the Sydney theatre scene a-buzz with excitement, and looking at this video it’s easy to see why.

Sweet Charity is the first in a line of independent musical theatre and cabaret shows set to take place at the newly rebranded Hayes Theatre Co this year, and it’s certainly started the season off with a bang. Produced by Luckiest Productions and Neil Gooding Productions in association with Hayes Theatre Co, it is set to be a game changer for Sydney’s current theatrical scene.

If you haven’t booked your tickets already – do it. The show is currently in previews and is garnering a lot of attention! (I wouldn’t want you to miss out…)

Cast also includes Lisa Sontag, Kuki Tipoki, Jakob Ambrose, Kirby Burgess, Xander Ellis, Stephanie Grigg, Seann Matthew Moore, Francesca O’Donnell and Rowena Vilar

Oh so sweet: Sweet Charity teaser at Hayes Theatre Co is a post from: AussieTheatre.com

The cast of King Kong will say goodbye to Skull Island and their multi-million dollar leading man this weekend as the production draws its final curtain on Sunday 16 February at Melbourne’s Regent Theatre. 

But the music of King Kong’s quartet boys – Ross Hannaford, Dean Vince, Andy Cook and Scott McConnell – will live on.

These talented musicians, along with musical director Daniel Edmonds, have recorded a fabulous arrangement of Amy Winehouse’s ‘Rehab’ in the auditorium of the Regent Theatre last week, and I loved it so much, I had to post it.

This is what can happen when so many talented performers end up in the one theatre for an extended period of time!

King Kong song birds show us how it’s done is a post from: AussieTheatre.com

Over the weekend, I came across this gorgeous video made by King Kong cast mates Samm Hagen and Hayley Martin – and I wanted to share it with AussieTheatre readers.

For anyone interested in the backstage workings of a major musical – this is a must see! Samm and Hayley talk us through their makeup and wig changes and then show the process in time lapse!

Enjoy!

King Kong time lapse makeup video is a post from: AussieTheatre.com

This week, something horrible and something wonderful happened in our industry.

Know your worth. Image by TaxCredits.net

Horribly, a request from an American company was sent to Australian agents and dance schools seeking dancers for a new Kylie Minogue video clip stating that, due to budget constraints, these dancers would not be paid.

There have been many reports in the media about this issue over the last 48 hours – including a segment on Channel 10′s The Project, and articles in the Sydney Morning Herald, ArtsHub, The Daily Mail and more. I urge you to read as much as you can from the major news outlets and while you’re at it, search the hash tag #paythedancers for a look at the commentary on social media too.

Wonderfully, many dancers took a stand and refused to work a 10 hour day on the film set for nothing, refused the exploitation of their skills (thinly veiled as ‘exposure’) and many took to social media to voice their concerns. Facebook and Twitter were ablaze with comments from dancers and artists expressing their distress, disgust and outrage at the treatment of the dancers in this situation. A frenzy ensued and soon the issue was trending. The Media Entertainment and Arts Alliance (the union which represents performers, musicians, crew and journalists) stepped in to ensure all dancers on set were paid and – on the social media front –  artists across the country continued to denounce companies who have similarly exploited dancers on previous occasions.

I, for one, am deeply disappointed but not surprised that this issue plagues our arts industry in Australia. It’s not an uncommon tale, to hear of large companies (often representing big ‘stars’) offering ‘exposure’ as remuneration enough for young, eager performers. Expecting young professional artists to work for free - when other staff are paid – repeatedly and without question is an insult to the craft, to the industry and to those who fought hard for our rights at work. And, it’s illegal.

It’s all too common an occurrence and it has to stop. It has to stop right now.

An open letter to young artists

Dancers, artists all,

I want you to know that you are wonderful. You have trained, you have honed your art and your craft. You have worked toward a goal and you have done so with grace, enthusiasm and passion. Every day you put your heart and soul into your work, put your bodies on the line in a way that many in this world can’t even begin to comprehend. You are strong, talented and amazing.

I know that, while you are taught the ins and outs of your craft in your training institutions, you are rarely taught what you are worth. I know that also, in reality, those outside our industry rarely know what you are worth. I want you to know that I know your worth, your peers and colleagues know your worth, and that many people have fought to protect it.

I know that people ask you what your ‘real job’ is, and I know that while you may work in a bar, a cafe, a retail store on occasion, your real job is your craft. It drives you, it demands your attention. You love what you do and you are passionate, brilliant people.

It is because of all these things that you must never, ever let yourself be taken advantage of.

You are lucky enough love your work, but it does not mean you should work for love and love alone. Love does not pay the bills, wages do. Be responsible for your work. Read about your rights, your award wages and what you are entitled to. Know your worth and never be afraid to stand up for yourself.

If you choose to donate your time to a project, do so for the right reason and always with open eyes. If someone else is making money from a project, and isn’t valuing your worth, then reconsider.

Listen to your peers, learn from those whose work ethic you respect and never, ever, ever undervalue yourself. If you do, others may take the opportunity to do the same – and that is never ok. Not for you, not for your peers and not for the industry you love so dearly. 

With so much love and respect,
Erin James

An open letter to everyone else:

Dear Everyone Else,

#paythedancers

and help us stop this culture of exploitation in our country.

Regards,
Erin James

An open letter to artists: know your worth is a post from: AussieTheatre.com

This fun little tidbit showed up yesterday in a London blog and I adored it and couldn’t help but share it with you all!

My good friend Andy Conaghan (last seen on Australian stages in South Pacific and currently appearing in the West End production of Dirty Rotten Scoundrels) brought it to my attention. Thanks Andy – late night Facebook sessions bring out some good content after all.

The 10 things [Londoners] didn’t know about Australian Theatre is the article from WhatsOnStage.com - and yes, they are a little condescending:

It’s not just Kangaroos and Neighbours, the theatre scene down-under is more important than you may have previously thought…

(Ooh… I’m going to pretend I didn’t really read that properly and move on to the good stuff…)

But isn’t it lovely that the Australian and New Zealand Festival of Literature and Arts in London is keeping the attention of the mother country long enough to create a list like this!?

Trust the British to enjoy the fact that we traded in Rum back in 1796 so much!
(I wonder if they’d also enjoy the fact that our most recent offering off Broadway is a show called Drunk Shakespeare. Yes, it’s a thing. And it’s also played in Brisbane at the Anywhere Theatre Festival this week!)

I’m glad that our quirks made it onto a buzz list! Hooray for Australian Theatre!

Read: 10 things you didn’t know about Australian Theatre on WhatsOnstage.Com

10 things you didn’t know about Australian Theatre is a post from: AussieTheatre.com

Sunday night is, for the most part, the theatre world’s ‘Friday.’ It is the day we theatre folk come home, pour a glass of wine and reflect on the week that has been.

Last Sunday, performer John O’Hara sat down after a long week inside the Green Machine and wrote this thought provoking, beautiful comment on life in the theatre… And we think he just made seat A42 the most important seat in the house!

As the sun sets on another working week at Wicked Inc. a few things struck me throughout our ‘Friday’ (I’ve also had a generous amount of wine). Many years ago a 17 year old boy flew to Melbourne from Perth to spend Christmas with family. Because no one would agree to go with him, that 17 year old boy bought a single ticket (A42) to see a matinee performance of Sunset Boulevard at The Regent. I still remember feeling frozen and in utter awe of the opening number, Let’s Have Lunch. Something changed that day… I decided that that 17 year old boy was going to be in a big musical at The Regent… and what was to happen in-between, was merely details.

Today as I began to warmup my tired, sore and sleepy bones in the empty stalls of the beautiful Regent Theatre, I looked around and noticed her beauty while still empty and before the craziness of the matinee kicked in. I wondered who might be sitting in A42 today and went and sat down in my favourite seat whilst diligently singing my arpeggios.

Usually on a Sunday I buy the papers to read whilst backstage in-between scenes, today I was running late and coffee was priority. So instead of reading, I listened and watched the show from the wings where possible. Watching and hearing my colleagues and friends (some of my best) on and offstage come together to tell this story, this wonderful story where the underdog triumphs, grows, and falls in love was mesmerising. Again, I wondered who was sitting in A42 and if our story was changing them.

We at Wicked are story tellers and for that I am truly grateful and humbled. Every day I get to play dress ups and wander down the Yellow Brick Road with a big bunch of eccentric, crazy and wonderful people to Oz… and in Oz anything is possible. There are spells, a city made entirely of emerald, flying monkeys, animals that can talk and green girls that can fly.

Sometimes it’s hard and tiring and boring. Sometimes my shoulder hurts or my voice cracks or I feel bloated. But mostly, it’s swell. It’s a privilege to have visited Oz. It’s a privilege to tell stories. It’s a privilege to earn a living from something that brings so much joy.

My show is for anyone who sits in A42 at The Regent… that seat is magic, it makes dreams come true and it changes you… For Good.

John O’Hara is currently appearing as the Governor of Munchkinland and understudies Dr. Dillamond in WICKED.

This post is everything. Thank you, Australia’s John O’Hara is a post from: AussieTheatre.com

This is just a little something to brighten your weekend…

The stars of WICKED the musical made this fun little video on their way to the theatre last week, and we couldn’t resist sharing!

Check out the awesome surprise at 1:10!

Happy Saturday everyone

Love, The AT Team

And for those of you who haven’t seen it, this is the “inspiration” for their video!

Wicked stars get down with Iggy Azalea on their way to the theatre is a post from: AussieTheatre.com

I used to watch Aladdin on repeat when I was a child and the VHS tape we owned was nearly worn out by the time the movie was released on DVD.

My younger brother and I knew the movie backwards and we took great pride in the fact that we could sing ALL the words to Genie’s epic show-stopping numbers ‘Friend Like Me’ and ‘Prince Ali’, performed by the incredibly talented Robin Williams, and would do so at any given opportunity. Our poor parents suffered through many-a car trip with the two of us mastering the text and chewing on the consonants.

To be honest, I’m not sure we understood everything we sang about at the time, but as with most things music theatre, the information stored in my brain from the lyrics in this song have continually come back to help me through life. It sounds strange, but I am being quite serious when I say much of my general knowledge (dates, names, fashion, cultural references) was initially learned in the context of a musical. Knowing -word for word - a song as jam-packed with culture and external references as ‘Friend Like Me’ helped me move from blissful ignorance as a child to understanding phrases and concepts as I grew. I’m certain my retention of the text has a lot to do with Robin Williams’ incredible ability to captivate an audience with his voice. I remember the inflections, the tonality, the way he manipulated sound to create contrast within a short time frame and because of this, I will always have his voice in my head when I remember this song.

In tribute to actor and comedian Robin Williams, who sadly passed away earlier this week, the Broadway cast of Aladdin - the musical passed out lyric sheets to their entire 1700-strong audience at the New Amsterdam Theatre to sing a section of ‘Friend Like Me’. It was a touching display, captured on video (below), and a rousing tribute to a man who has touched the lives of many around the world.

I wonder though, how many people actually needed to read from those lyric sheets? Had I been there, had my brother been there, had many who grew up in the 80s and 90s been there that night, we most likely would have held onto those lyric sheets for strength, but the words were already in our hearts.

Vale, Robin Williams. I’ve never had a friend like you.

Disney’s Aladdin on Broadway pay tribute to Robin Williams is a post from: AussieTheatre.com

Who doesn’t love the Demon Barber of Fleet Street?

Australia has enjoyed a lot of Sondheim on our professional and independent stages over the last few years. A Funny Thing Happened on the Way To The Forum, Into The Woods, Sunday in the Park with George, Sondheim on Sondheim, Pacific Overtures, Assassins and Side by Side by Sondheim have all graced audiences in recent times and soon, Passion and Sweeney Todd will be playing in Melbourne.

I wanted to acknowledge our current love affair with Sondheim (who came to Australia recently to watch Geoffrey Rush in Forum) and what better way with than this awesome video featuring Emma Thompson and Bryn Terfel.

The clip has popped up on my screen several times over the past week and I have (sneakily) watched it several times over.

It’s so great, I wanted to make sure as many people saw it as possible!

And also,  Audra McDonald.

And also, Philip Quast.

Enjoy

Is this not the best way to start a concert? Sweeney Todd at the Lincoln Centre, 2014 is a post from: AussieTheatre.com

Just when you thought the Australian cast of Once couldn’t be any more amazing, they go and do this. Between shows. On a Wednesday.

No biggie.

Just a group of amazing performers backstage at Melbourne’s Princess Theatre with a single microphone, a few instruments and a whole lot of heart!

Check out Tom Parsons and the gang from Once in this great cover of ‘House of Gold’. You’re welcome.

#LoveOnce

Incredible! The Australian cast of Once recorded this between shows and nailed it is a post from: AussieTheatre.com

The cast of King Kong will say goodbye to Skull Island and their multi-million dollar leading man this weekend as the production draws its final curtain on Sunday 16 February at Melbourne’s Regent Theatre. 

But the music of King Kong’s quartet boys – Ross Hannaford, Dean Vince, Andy Cook and Scott McConnell – will live on.

These talented musicians, along with musical director Daniel Edmonds, have recorded a fabulous arrangement of Amy Winehouse’s ‘Rehab’ in the auditorium of the Regent Theatre last week, and I loved it so much, I had to post it.

This is what can happen when so many talented performers end up in the one theatre for an extended period of time!

King Kong song birds show us how it’s done is a post from: AussieTheatre.com

Over the weekend, I came across this gorgeous video made by King Kong cast mates Samm Hagen and Hayley Martin – and I wanted to share it with AussieTheatre readers.

For anyone interested in the backstage workings of a major musical – this is a must see! Samm and Hayley talk us through their makeup and wig changes and then show the process in time lapse!

Enjoy!

King Kong time lapse makeup video is a post from: AussieTheatre.com

This week, something horrible and something wonderful happened in our industry.

Know your worth. Image by TaxCredits.net

Horribly, a request from an American company was sent to Australian agents and dance schools seeking dancers for a new Kylie Minogue video clip stating that, due to budget constraints, these dancers would not be paid.

There have been many reports in the media about this issue over the last 48 hours – including a segment on Channel 10’s The Project, and articles in the Sydney Morning Herald, ArtsHub, The Daily Mail and more. I urge you to read as much as you can from the major news outlets and while you’re at it, search the hash tag #paythedancers for a look at the commentary on social media too.

Wonderfully, many dancers took a stand and refused to work a 10 hour day on the film set for nothing, refused the exploitation of their skills (thinly veiled as ‘exposure’) and many took to social media to voice their concerns. Facebook and Twitter were ablaze with comments from dancers and artists expressing their distress, disgust and outrage at the treatment of the dancers in this situation. A frenzy ensued and soon the issue was trending. The Media Entertainment and Arts Alliance (the union which represents performers, musicians, crew and journalists) stepped in to ensure all dancers on set were paid and – on the social media front –  artists across the country continued to denounce companies who have similarly exploited dancers on previous occasions.

I, for one, am deeply disappointed but not surprised that this issue plagues our arts industry in Australia. It’s not an uncommon tale, to hear of large companies (often representing big ‘stars’) offering ‘exposure’ as remuneration enough for young, eager performers. Expecting young professional artists to work for free – when other staff are paid – repeatedly and without question is an insult to the craft, to the industry and to those who fought hard for our rights at work. And, it’s illegal.

It’s all too common an occurrence and it has to stop. It has to stop right now.

An open letter to young artists

Dancers, artists all,

I want you to know that you are wonderful. You have trained, you have honed your art and your craft. You have worked toward a goal and you have done so with grace, enthusiasm and passion. Every day you put your heart and soul into your work, put your bodies on the line in a way that many in this world can’t even begin to comprehend. You are strong, talented and amazing.

I know that, while you are taught the ins and outs of your craft in your training institutions, you are rarely taught what you are worth. I know that also, in reality, those outside our industry rarely know what you are worth. I want you to know that I know your worth, your peers and colleagues know your worth, and that many people have fought to protect it.

I know that people ask you what your ‘real job’ is, and I know that while you may work in a bar, a cafe, a retail store on occasion, your real job is your craft. It drives you, it demands your attention. You love what you do and you are passionate, brilliant people.

It is because of all these things that you must never, ever let yourself be taken advantage of.

You are lucky enough love your work, but it does not mean you should work for love and love alone. Love does not pay the bills, wages do. Be responsible for your work. Read about your rights, your award wages and what you are entitled to. Know your worth and never be afraid to stand up for yourself.

If you choose to donate your time to a project, do so for the right reason and always with open eyes. If someone else is making money from a project, and isn’t valuing your worth, then reconsider.

Listen to your peers, learn from those whose work ethic you respect and never, ever, ever undervalue yourself. If you do, others may take the opportunity to do the same – and that is never ok. Not for you, not for your peers and not for the industry you love so dearly. 

With so much love and respect,
Erin James

An open letter to everyone else:

Dear Everyone Else,

#paythedancers

and help us stop this culture of exploitation in our country.

Regards,
Erin James

An open letter to artists: know your worth is a post from: AussieTheatre.com

This fun little tidbit showed up yesterday in a London blog and I adored it and couldn’t help but share it with you all!

My good friend Andy Conaghan (last seen on Australian stages in South Pacific and currently appearing in the West End production of Dirty Rotten Scoundrels) brought it to my attention. Thanks Andy – late night Facebook sessions bring out some good content after all.

The 10 things [Londoners] didn’t know about Australian Theatre is the article from WhatsOnStage.com – and yes, they are a little condescending:

It’s not just Kangaroos and Neighbours, the theatre scene down-under is more important than you may have previously thought…

(Ooh… I’m going to pretend I didn’t really read that properly and move on to the good stuff…)

But isn’t it lovely that the Australian and New Zealand Festival of Literature and Arts in London is keeping the attention of the mother country long enough to create a list like this!?

Trust the British to enjoy the fact that we traded in Rum back in 1796 so much!
(I wonder if they’d also enjoy the fact that our most recent offering off Broadway is a show called Drunk Shakespeare. Yes, it’s a thing. And it’s also played in Brisbane at the Anywhere Theatre Festival this week!)

I’m glad that our quirks made it onto a buzz list! Hooray for Australian Theatre!

Read: 10 things you didn’t know about Australian Theatre on WhatsOnstage.Com

10 things you didn’t know about Australian Theatre is a post from: AussieTheatre.com

Sunday night is, for the most part, the theatre world’s ‘Friday.’ It is the day we theatre folk come home, pour a glass of wine and reflect on the week that has been.

Last Sunday, performer John O’Hara sat down after a long week inside the Green Machine and wrote this thought provoking, beautiful comment on life in the theatre… And we think he just made seat A42 the most important seat in the house!

As the sun sets on another working week at Wicked Inc. a few things struck me throughout our ‘Friday’ (I’ve also had a generous amount of wine). Many years ago a 17 year old boy flew to Melbourne from Perth to spend Christmas with family. Because no one would agree to go with him, that 17 year old boy bought a single ticket (A42) to see a matinee performance of Sunset Boulevard at The Regent. I still remember feeling frozen and in utter awe of the opening number, Let’s Have Lunch. Something changed that day… I decided that that 17 year old boy was going to be in a big musical at The Regent… and what was to happen in-between, was merely details.

Today as I began to warmup my tired, sore and sleepy bones in the empty stalls of the beautiful Regent Theatre, I looked around and noticed her beauty while still empty and before the craziness of the matinee kicked in. I wondered who might be sitting in A42 today and went and sat down in my favourite seat whilst diligently singing my arpeggios.

Usually on a Sunday I buy the papers to read whilst backstage in-between scenes, today I was running late and coffee was priority. So instead of reading, I listened and watched the show from the wings where possible. Watching and hearing my colleagues and friends (some of my best) on and offstage come together to tell this story, this wonderful story where the underdog triumphs, grows, and falls in love was mesmerising. Again, I wondered who was sitting in A42 and if our story was changing them.

We at Wicked are story tellers and for that I am truly grateful and humbled. Every day I get to play dress ups and wander down the Yellow Brick Road with a big bunch of eccentric, crazy and wonderful people to Oz… and in Oz anything is possible. There are spells, a city made entirely of emerald, flying monkeys, animals that can talk and green girls that can fly.

Sometimes it’s hard and tiring and boring. Sometimes my shoulder hurts or my voice cracks or I feel bloated. But mostly, it’s swell. It’s a privilege to have visited Oz. It’s a privilege to tell stories. It’s a privilege to earn a living from something that brings so much joy.

My show is for anyone who sits in A42 at The Regent… that seat is magic, it makes dreams come true and it changes you… For Good.

John O’Hara is currently appearing as the Governor of Munchkinland and understudies Dr. Dillamond in WICKED.

This post is everything. Thank you, Australia’s John O’Hara is a post from: AussieTheatre.com

This is just a little something to brighten your weekend…

The stars of WICKED the musical made this fun little video on their way to the theatre last week, and we couldn’t resist sharing!

Check out the awesome surprise at 1:10!

Happy Saturday everyone

Love, The AT Team

And for those of you who haven’t seen it, this is the “inspiration” for their video!

Wicked stars get down with Iggy Azalea on their way to the theatre is a post from: AussieTheatre.com

I used to watch Aladdin on repeat when I was a child and the VHS tape we owned was nearly worn out by the time the movie was released on DVD.

My younger brother and I knew the movie backwards and we took great pride in the fact that we could sing ALL the words to Genie’s epic show-stopping numbers ‘Friend Like Me’ and ‘Prince Ali’, performed by the incredibly talented Robin Williams, and would do so at any given opportunity. Our poor parents suffered through many-a car trip with the two of us mastering the text and chewing on the consonants.

To be honest, I’m not sure we understood everything we sang about at the time, but as with most things music theatre, the information stored in my brain from the lyrics in this song have continually come back to help me through life. It sounds strange, but I am being quite serious when I say much of my general knowledge (dates, names, fashion, cultural references) was initially learned in the context of a musical. Knowing -word for word – a song as jam-packed with culture and external references as ‘Friend Like Me’ helped me move from blissful ignorance as a child to understanding phrases and concepts as I grew. I’m certain my retention of the text has a lot to do with Robin Williams’ incredible ability to captivate an audience with his voice. I remember the inflections, the tonality, the way he manipulated sound to create contrast within a short time frame and because of this, I will always have his voice in my head when I remember this song.

In tribute to actor and comedian Robin Williams, who sadly passed away earlier this week, the Broadway cast of Aladdin – the musical passed out lyric sheets to their entire 1700-strong audience at the New Amsterdam Theatre to sing a section of ‘Friend Like Me’. It was a touching display, captured on video (below), and a rousing tribute to a man who has touched the lives of many around the world.

I wonder though, how many people actually needed to read from those lyric sheets? Had I been there, had my brother been there, had many who grew up in the 80s and 90s been there that night, we most likely would have held onto those lyric sheets for strength, but the words were already in our hearts.

Vale, Robin Williams. I’ve never had a friend like you.

Disney’s Aladdin on Broadway pay tribute to Robin Williams is a post from: AussieTheatre.com