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25.01.2022 Thank you to everyone who contributed to making our ‘30 Days Of Rep’ such a fantastic trip down memory lane! We hope you have all enjoyed it. We look forward to a time when we can all gather back at the Woodbin Theatre and continue creating new memories for many years to come Well done Greg Shawcross in putting this all together!
23.01.2022 Day 26 - Little Murders (1990) as remembered by Robyn Birrell It was the winter of 1990 at the Woodbin and I had managed to convince a Dream Team of the Geelong theatre community to be part of the cast of a pitch black comedy about random shootings, urban violence, obscene phone calls, rusty water pipes, electrical blackouts, rampant paranoia, ethnic conflict, nihilism and love. Still surprisingly current themes, I fear. The play was a confronting work called Little Murder...s written in 1972 by the cartoonist and author Jules Feiffer and the design we embraced was stark and non-realistic with the skeleton of the fourth wall in place to make the audience feel a sense of voyeurism and discomfort along with the slapstick and humour. The laughs all came from the cartoonesque characters brought to life by the brilliant cast. We had the skills of some experienced actors including the Rep great Dennis Mitchell and the ever-supportive Jacqui Connor plus the multi-faceted talents of Ross Mueller and Christine Davey. Stuart Pilgrim played the protagonist and Rep newcomer, Shaun Kenna joined in adding some excitement by roller-skating on the confines of the Woodbin stage. Looking back now I am grateful we had the opportunity to present a work that, at the time was quite challenging and controversial and I praise the Rep leaders past and present for being ready to embrace brave new ideas alongside the great traditions built up over the past 88 years.
23.01.2022 Reminiscing About Rep August 2020 Did you know that in over 400 productions spanning 88 years Geelong Rep have staged 10 Shakespearean plays! The first was a production of ‘The Merchant Of Venice’ directed by Dulcie Meakin at the G.A.M.A. Theatre in 1949. While it took 17 years for Geelong Rep to stage its first play by William Shakespeare, the next few years would make up for this with productions of ‘Macbeth’ in 1951 (directed by Dulcie Meakin), ‘As You Like It’ in 1955 (...directed by Mary Cooke and Roy Deller) and ‘The Winter’s Tale’ in 1956 (directed by Ken Mappin). Harry Fallaw appeared in all four of these productions playing the roles of Shylock, Macbeth, Jaques and Camillo. A production of ‘Julius Caesar’ directed by Frederick Ludowyk in 1970 featuring Keith Smith in the role of Cassius would be the last time a Shakespearean play would be performed at the G.A.M.A. Theatre. Dennis Mitchell directed productions of ‘Measure For Measure’ in 1991 and ‘The Merchant Of Venice’ in 1992, these being the first Shakespearean plays performed by Geelong Rep at the Woodbin Theatre. The cast and production team of ‘Measure For Measure’ featured over ten people who would eventually be awarded with life membership of Geelong Rep. Sheila Dawson directed Geelong Rep’s first Shakespearean play of the 21st century in 2005 with a production of ‘Hamlet’ featuring Alistair Vick in the title role. This has since been followed up by ‘Twelfth Night’ (directed by Charlotte Hukvari) in 2010 where Barry Eeles donned Malvolio’s famous yellow stockings and Cherie Roessler’s production of ‘Romeo And Juliet’ in 2012 featuring Jesse Bickerton and Madelaine Field as the star crossed lovers. We hope you have enjoyed Reminiscing About Rep.’ You can look forward to more memories being shared on the first Friday of each month.
20.01.2022 Day 28 - 31 Years At Rep as remembered by Vonnie Pilgrim "You never know what you can do until you try" is my mantra. Geelong Rep has been joyous "just 31 years", a lifetime for many of our members. I joined in 1989 after musical theatre with GMCC. Over the years I auditioned and gained roles (and cameos) stretching myself, "people watching," to gain knowledge for possible future use on stage. The sheer fun of Mammy Yokum "Li’l Abner", French woman "Allo, Allo", Mother Ru...dd "On Our Selection" with real life son Stuart as Dave and more dramatic Mumma "Harp in the South", Rebecca Nurse "The Crucible", 5 quick changes male and female in "Remember Ronald Ryan", preferring lighter roles (doesn't every woman wish to be the lovely one?) Gave me a chance to BE a character, but some drama as well I died three times! Treading the boards meant forfeiting holidays, weekends, days off, all weathers to work for "togetherness results:" Encouraging new comers who have only just heard of us, to continue to attend/audition/keep aiming is no trouble as they are usually surprised by the high standards at Geelong Rep. Being the creative type was fed by being asked to paint and detail scores of sets 29 times the stage floor on every type of surface, substrate. Gratifying as was keeping the garden welcoming for patrons, committee, front of house, ushering etc. Many light/shade times shared, friendships, cooperation, encouragement, help are unforgettable. An eclectic mix on our home turf at Geelong Rep. Thank you to all past and present people concerned.
17.01.2022 Day 18 - Same Time, Next Year (2000) as remembered by Richard Critchlow During my twenty years of ‘service’ to Rep there were dozens of wonderful shows but the one which affected me most, and still does conjure up delightful memories was ‘Same Time Next Year’ which was staged at the Woodbin in February-March 2000 and directed by June Gomm. It was only a basic two-hander with Tina Rettke and Bryan Eaton playing the two leads, supported by Jenny Gilmore-Elwood and Shane James i...n cameo roles. I was stage manager and set construction person (or ‘set realisation person’ as described in one Melbourne theatre). The set was a standard box-set of a small apartment with windows and doors, piano and bed and tastefully decorated. Whilst the plot of the play is very simple, the level of acting and the sense of identification of the actors with the characters just had to be first-rate to carry off the characterisations with integrity. Both Tina and Bryan were awe-inspiring. I recall the play distinctly because of the brilliance of the acting, but in particular because Bryan was in tears every single night of the production, and myself and the entire crew were likewise. This play is special to me because it reinforced my determination never to play a role on stage because the acting skills required were so daunting as to be literally terrifying. This one play symbolised for me why I am in awe of so many Rep actors. See more
17.01.2022 Day 27 - Pygmalion (2017) as remembered by Rose Musselwhite It’s thanks to my Mum that I can say that Geelong Rep played a large part in my life growing up. I have fond memories of feeling very ‘special’ when I was allowed to go backstage after shows but my highlight at the Woodbin has to be Pygmalion. I cannot fault my experience as part of that show. Alard Pett designed and directed the show with such care and expertise. However, I will never forgive his ‘genius’ idea that I should thread a needle on stage in the final scene my shaking hands did not make it easy!! Stacey Carmichael was also an integral part of the production, and Ben Mitchell was a tremendous help with accents both offstage and on as Henry Higgins.
17.01.2022 Day 25 A Few Good Men (2015) as remembered by Greg Shawcross My first foray into directing at the Woodbin Theatre came with a production of Aaron Sorkin’s ‘A Few Good Men’ in 2015. I was so excited to have the opportunity to direct my first show with Geelong Rep and that it happened to be one of my all-time favourite plays made it all the more special! There were many memorable moments and a couple of funny stories along the way. I will always remember the pivotal moment ne...ar the end of Act Two during a performance where a dramatic pause following Kaffee’s quintessential question to Jessep then why the two orders? was filled by a quiet comment from an audience member that’s a good question! I loved this because it meant the audience was so engaged in the story! I also remember the night where a torrential downpour started mid performance. This did not help the illusion that we were at Guantanamo Bay in 110F heat in that moment! But many of the special memories revolve around the incredible people who were involved in the show. The entire cast and production team were a joy to work with. The shared willingness to buy into the concept of ensemble storytelling during the rehearsal process was what made the production so special. To then get to share the story with a sell out season of enthusiastic audiences was very rewarding.
16.01.2022 Day 14 - The Resistible Rise Of Arturo Ui (2018) as remembered by Norm Lowe After around 25 years since last being on stage, I was fortunate to be cast in 'The Resistible Rise of Arturo Ui' one of my favourite plays from years of subscribing to Melbourne Theatre Company. It was a wonderful experience, a fantastic director, Greg Shawcross, who was great at communicating and had the ability to make a vision come to life on stage. The cast and crew were committed and talented. And the final scene of the fully plastered set of posters many of which had the UI symbol that resembled a swastika, the manic speech and the answering Nazi salute wowed the audience, and the cast every night.
15.01.2022 Day 13 - A Man For All Seasons (2002) as remembered by Bryan Eaton One of the highlights of my theatrical experiences was the role of Sir Thomas More in A Man for All Seasons in 2002. My stand out memory of the show was not being berated by Henry VIII (Stuart Pilgrim) or questioned by Thomas Cromwell (Geoff Gaskill) or indeed having my head chopped off, it was standing down stage over looking the audience (and the river Thames) and talking to The Common Man/Boatman (Neil Fletcher). My line The river looks black tonight, does not sound particularly memorable, but when accompanied by the music of Bedrich Smetena, from Ma Vlast, has stayed with me ever since.
14.01.2022 Reminiscing About Rep October 2020 Some of the unsung heroes of Geelong Rep are our set designers and set builders. The amount of work that goes into transforming the stage production after production is quite incredible! So this month we would like to highlight a selection of Geelong Rep sets from throughout the years. Top Left Arsenic and Old Lace (1982) performed at the Ford Theatre... Set Design Mark Wagner Set Construction Tony Hopper Top Right The Bride And The Bachelor (1984) performed at the Blakiston Theatre Set Design Ruth Richards Set Construction Roy Phillips, John Dunstan, Peter Jenkinson, George Crawford, Peter Riley, Barry Turner, Andrea Walsgott, Frances Moon Second Row Left Suddenly Last Summer (1991) performed at the Woodbin Theatre Set Design Elaine Mitchell and Jacqueline Taylor Set Construction Richard Critchlow, Dennis Mitchell, Norma Dessent, Amanda Barrat Second Row Right Blithe Spirit (2005) performed at the Woodbin Theatre Set Design and Construction Richard Critchlow Third Row Left Almost, Maine (2014) performed at the Woodbin Theatre Set Design Ed Dolista Set Construction Richard Critchlow and Winston Barnett Third Row Right Lost In Yonkers (2015) performed at the Woodbin Theatre Set Design Jules Hart Set Construction Winston Barnett and Richard Critchlow Bottom Row Left The Shifting Heart (2016) performed at the Woodbin Theatre Set Design Graci Lynch Set Construction Steve Howell, Richard Critchlow and Neville Bridge Bottom Row Right Pygmalion (2017) performed at the Woodbin Theatre Set Design Alard Pett Settings Stuart and Ingrid Pett, Robert Kavant, Neville Bridge, Waled Biadar, Richard Critchlow, Ben Mitchell, Grant Collins Do you have a favourite set that you have seen or worked on in a Geelong Rep show? Please tell us about it in the comments below!
14.01.2022 Day 20 - Romeo And Juliet (2012) as remembered by Cherie Roessler When you’ve experienced so many life-changing productions in one space, it is so hard to choose one to reminisce about. The community at Rep, the backstage antics and the friendships you make, are all part of what makes the production memorable. A View From The Bridge changed me in so many ways and allowed me to delve into pure drama, Blackadder was a comedian’s dream, but directing Romeo and Juliet was anothe...r opportunity entirely. I’d experienced direction before, but never felt such pure excitement, like taking on this challenge. There were so many design concepts I loved playing with, but my favourites were; working with Ian Parsons on sounds design (some haunting effects I was in awe of), the slow motion mask work when R & J met and working with Jules Hart on various movement and finally, the brilliant unity and group energy during Cameron’s ‘Queen Mab’ speech. Jessie and Maddie put in so much extra time dropping in their lines on a bare Rep stage and the dynamics between them was magic. The cast and crew were all so dedicated and phenomenal, I wish I could mention them all. Having women represent the Capulet family and the fryer brought an added dynamic and underlying meaning too and Charlotte and Christine were so strong in their roles, I was blessed. Directing a production in such a supportive environment, is truly rewarding. Something I would love to do again. Thanks Rep! And thanks Mister Shakespeare.
13.01.2022 Day 22 - Boeing, Boeing (2003) as remembered by Ed Dolista I have many fond memories of the Woodbin a highlight for me was The 39 Steps which was for me a perfect production with an amazing cast and crew and one that pushed me as a performer but I know that will be covered in another post! I have had the pleasure of working with my friend, the talented Ian Nash-Gilchrist, on a number of occasions and I always have a blast on stage with him. I remember one year at the Rep ...launch they decided to mix it up a bit and have each play extract perform in a different part of the theatre I was performing with Ian our extract for Boeing, Boeing backstage on the stairs going up to the costume store. What could go wrong? No high falls thankfully. We had rehearsed it, memorised it and had the comic timing down perfectly. Just as we started a torrential downpour hit the tin roof drowning out our dialogue so the audience couldn’t hear what we were saying they still seemed to enjoy it though! Still with Boeing, Boeing which was a swinging sixties farce based on the Tony Curtis and Jerry Lewis film and had a wonderful director in Ross Pearce and another fantastic cast Ian and I were in full suits with slicked back hair and it was probably the biggest speaking roles we have had up to that point so we were all a little nervous on opening night. And while we didn’t have a we didn’t have a downpour on opening night the temperature was in the high 30s. Onstage before LED lighting it felt closer to 45 degrees! About 2 minutes into the opening scene I had felt like I had a bucket of water poured over my head as I was drenched with sweat! My mum afterwards asked why I didn’t use my handkerchief to wipe my brow but I was so focused on the role I totally forgot! I do remember drinking a lot of ‘stage’ whiskey that night to try and cool me down! Of course the real highlight of my time at the Woodbin has to be meeting my future wife during the production of Scenes from a Separation - I was called in about a week before the show opened to replace an actor and Kelly was assistant director of the performance!
13.01.2022 Reminiscing About Rep For many years September has been a constant on the Geelong Rep calendar with the first Friday eveningof the month often signaling Opening Night of a new production! One of Geelong Rep’s earliest September productions occurred on September 27, 1938 where four one act plays were featured together. ‘The Stepmother’ by A.A. Milne, ‘The Old Lady Shows Her Medals’ by Sir James Barrie, ‘Before Breakfast’ by Eugene O’Neill and ‘It’s Autumn Now’ by Philip Johnso...n were performed by an ensemble who featured in one or two pieces each. In the program is a note to audience members requesting feedback on their preference between an evening of one act plays or one full length play. Given that the 1939 season was comprised exclusively of full length plays it seems that audiences may not have taken to the shorter form. In the 1950’s a number of productions were performed in the month of September. In 1953 Harry Fallaw directed ‘The Miser’ by Moliere, adapted by Miles Malleson. In 1954 Ken Nicolson directed a musical titled ‘1066 And All That’ and in 1957 a production of ‘The Queen And The Rebels’ by Ugo Betti was staged. It is noted in the program for ‘The Queen And The Rebels’ that the director, Roy Deller, had to step in to the role of Amos at short notice due to a cast member becoming ill. Many more September plays were performed in the second half of the 20th century with Ian Main’s ‘Subway In The Sky’ directed by John Backhouse in 1964 and ‘The Good Doctor’ directed by Dita Jevons in 1981 among them. The latter is based on twelve short stories written by Anton Chekhov and adapted and dramatized by Neil Simon. In 1997 a production of David Williamson’s ‘Brilliant Lies’ was directed by Mike Ellis featuring Rochelle Smith in the role of Susy. In more recent years John Patrick Shanley’s ‘Doubt: A Parable’ was directed by Sarah Freeman in 2010, ‘The Prime Of Miss Jean Brodie’ written by Jay Presson Allen, adapted from the novel by Mariel Sparks was directed by Stacey Carmichael in 2013 and David Williamson’s ‘The Club’ was directed by David Mackay in 2014. Do you have a memory of a September production? Please share it in the comments below!
12.01.2022 Day 24 - Steel Magnolias (1999) as remembered by Peter Wills Steel Magnolias is one of my favourite films as I have always loved Shirley MacLaine’s work. She is such a fine character actress. When I read the script of the stage play I was excited to see how similar it was to the film. After successfully applying to direct the play I was blessed to work with a highly skilled group of actresses who shared my vision. The pure joy of working with dear friends Ferri Bond and Madeleine Bates was only surpassed by meeting Edwina Davis who was so wonderful to direct and gave an amazing performance. This production remains a highlight of my theatrical work.
12.01.2022 Day 19 - Seasons Greetings (2009) as remembered by Scott Beaton Well, I wish it could be Christmas everyday. Indeed, it WAS Christmas everyday for two months when I had the joy (to the world) of directing Alan Ayckbourn's "Seasons Greetings" for Rep. This was a special show for many reasons, including being my directing debut (mentored by the late, great Mike Ellis) with the absolute pleasure of working with a fab cast and crew who got into the festive spirit of putting on a ...wintry UK family Christmas in a stinking hot Geelong summer! Special also as we had soooo much fun putting it on. We complemented Ayckbourn's witicisms with a huge real central Xmas tree, toy trains, nostalgic 80s attire (fluro and big hair) a full-working puppet theatre and a troupe of magical singing elves, 'The Greetettes', to transition significant scene changes (300+ props). Santa popped by at every performance. Subtle, it was not. However, pure joy it was aplenty. Great yuletide memories! See more
11.01.2022 Day 21 - Barefoot In The Park (2018) and more as remembered by Ian Nash-Gilchrist So many happy memories of Rep! There have been laughs and fun working with so many talented people on stage and behind the scenes. 'Little Shop of Horrors' was a delight as it was a chance to co-choreograph with my wife Penni for a youth aged company of talented actors but it's also hard to ignore working side by side with my best mate Ed Dolista on 'Boeing Boeing' and 'Picasso at the Lapin Agile'. However my two most favourite experiences come from the experience I gained working with two of Geelong's greatest directors, Stacey Carmichael and Kelly Clifford. Stacey's physical and creative way she directed me in 'Exit the King' and Kelly's keen eye for detail when working on 'Barefoot in the Park' are experiences hard to beat.
10.01.2022 Day 23 - The 39 Steps (2012) as remembered by Pep Upton It is hard to choose just one play that you define as the best and that leaves you with a fantastic memory even when you think about it years later. All the plays that I have worked on as a stage manager have a unique quality and remembrance. So, if I must choose just one play, I nominate The 39 Steps by Patrick Barlow. Right from the start this play intrigued me and made me laugh. The creative process right from the s...tart to the finished product was a wonderful team effort. The cast and crew all worked together as a great team to bring this production to Rep. We ended up putting on 14 sell out performances where we could not put on anymore. As a Stage Manager I love the challenge of bringing all the facets of a show together - script, lighting, sound, props, cast, crew, costumes, set pieces, scheduling and front of house. It inspires me to keep all the areas in check and operate in a timely manner for the show to be successful and achievable. The lovely old Woodbin Theatre just adds to the experiences. Rep is 88 years old and the history is strong, all run by volunteers. It brings in a wonderful array of people that are truly passionate about theatre and making connections in the arts world. When we are up and running again please come and say hello and see our wonderful plays.
06.01.2022 Day 30 - Cloudstreet (2008) as remembered by Lauren Crute Cloudstreet. What an epic introduction to Geelong Rep and the Woodbin Theatre this was for me. When I first stepped into this theatre I felt at home. The energy here makes you feel alive! I had the privilege of playing Rose Pickles. There haven’t been many characters that have resonated with me as much as she did. With the guidance and direction of our dear late friend, Mike Ellis, everyone involved truly stepped into the world of Cloudstreet. Everyone brought a truth to the story that had a powerful impact on audiences. The show was spectacular, and I will cherish this experience my whole life.
04.01.2022 Day 15 - Painting and Dressing Sets at the Woodbin as remembered by Derek Ingles I have been involved in numerous productions at Rep, from producing, stage managing, set building, light operating, sorting props, marketing and most recently directing. But one thing that I am involved in for a lot of shows is set painting and dressing. I've learnt so much in the rep space - how we can make the set pop with colour, texture and lighting - creating so many different environments. ...Working with amazing creatives, directors and set designers/builders - trying to create their stage world. It has been often challenging but very rewarding. Ordering wallpapers and a chance to use different painting materials and techniques that you just can't use at home (all the time!). Highlights have included the industrial look of Angels in America, The chess board look of Exit Laughing, the French seaside balcony and Paris apartment for Private Lives, the retro 70s Rumors set, the popping colours of The Savages of Wirramai, The French washed smudge walls of One Man, Two Guvnors, the lush gold painted furniture and golden wallpaper of Amadeus, the gorgeous blue walls of Barefoot in the Park and wintery look of Almost, Maine and not forgetting Mr Bailey's Minder where director Doug Mann kept asking for more paint, more colour, more mayhem. See more
02.01.2022 Day 29 - 20 Years At Rep as remembered by Jon Pedler 1. Ten memories of 20 years at the Woodbin 1990 2010: So many achievements together with my old friend Judy Thomson The Crucible, The Harp in the South, A Month of Sundays, Absurd Person Singular, Of Mice and Men, Money and Friends 2. Pre-show sherry and post-show cheese & crackers... 3. Meeting some wonderful people; too many to mention 4. Watching from the sound & lighting booth 5. Mike Ellis’ asparagus rolls 6. Admiring the quiet achievers Richard, Andrew 7. Watching the set being dismantled minutes after the last audience member had left the auditorium 8. Wearing a tux for opening night of The Harp in the South 9. Hangin’ in the Green Room 10. Watching the movie Drop Dead Fred and realising a large chunk of the script had been lifted almost word for word from Absurd Person Singular. Ten memories from The Rainmaker (1990) 1. The days when the seats faced the other way 2. June at audition: Do you wanna have a read, hun, or are you just here to watch? 3. Being given notes for the first time. 4. Raw eggs. 5. Hot coffee 6. Haybales and heat. 7. Crickets. 8. Sean Kinna turning up to rehearsal with Mandela is Free daubed all over his car. 9. Experiencing for the first time the wonderful Mike Ellis style of delicate underplaying. 10. Don’t go, Lizzie! Ten memories from Of Mice and Men (2001) 1. Duncan Esler stepping in to be Last Minute Lennie 2. Any of you guys seen my wife? three scenes early 3. The beautiful dog 4. Andrew Elkington’s bunkhouse to barn set. 5. Scott Beaton and his notebooks 6. Did I mention the dog? 7. Judy’s direction: patient, meticulous and always correct. 8. The worst moustache in theatre history. 9. Candy, Curly, Carlson & Slim 10. That last scene Ten memories from Good Works (2002) 1. Sorry, you want me to play how many parts? 2. There’s 64 scenes? 3. That set; a triumph of less is more! 4. Mike Ellis’ direction (No, I’ll tell you if I want you to do anything different) 5. Giving Scott Beaton a beatin’ 6. Andrew’s sound & lights (again!) 7. Mike Ellis’ brother’s music 8. Donovan! 9. Awards 10. The only time that I didn’t want a season to end. Ten memories from The Crucible (2003) 1. Cloaks 2. Levels 3. Tension 4. The pictures inside Judy’s head 5. The little witches 6. The Proctors Alastair & Meryl 7. Dancing in the UV light 8. John Craig’s wonderful voice 9. Those costumes so many tunics! 10. The screams Ten memories from The Cripple of Inishmaan (2010) 1. Feckin eggs 2. Feckin peas 3. Feckin poteen and beetroot feckin paella 4. Feckin bits of feckin news 5. Feckin mintios and yallamallas 6. Feckin Doctor feckin useless 7. Feckin Bryan, Patsy, Maddie, Morgan, Christine, Mary, Ubi & Andrew 8. The feckin egg wranglers! 9. Feckin Awards and nearly-awards 10. Feckin awesome way to say goodbye to the Woodbin.
01.01.2022 Day 16 - The Merchant Of Venice (1992) as remembered by Elaine Mitchell There are many memories for me associated with the beginnings of the Woodbin and indeed with the Old Gama Theatre after all I joined Rep at 17 years of age. After about 8 years of using the GPAC with rising costs, falling audiences and changing administration it was time to find an alternative. We had had many hard years in between after the loss of our old theatre and the building of GPAC. Still with har...dest lessons comes much learning and understanding. With the development of the Woodbin we bought Geelong Rep back from the brink of extinction. Interest had faded in the company I guess everything was just too hard. Dennis’s practical knowledge and hard work built the theatre with a dedicated few he co- opted and I worked on getting people back. The first season was paramount in showing people the size of the Woodbin stage was only as small as your imagination and so the plays chosen were to that end. The Rainmaker was a favourite play of the old Rep troupe So there was a nostalgic link with the past. Tina Rettke was in it and we got June Gomm to direct it. Keith Smith was also in it. Suddenly Last Summer was set in a jungle garden and Canterbury Tales provided an avenue of classical fun and opportunity for creative costuming, and so it went on. Dennis and I read many plays, co- opted many people and gradually the tide turned. We went into Shakespeare, with Measure for Measure and The Merchant of Venice. I was given a 1952 silk parachute. So I divided it into 6 and painted each individual section making colourful and cloaks that floated and moved with the actors making Measure for Measure a colourful production indeed. The Merchant of Venice is very memorable for me. Dennis and I discussed the production at length. John Calvert was Shylock and we had a fabulous cast. He directed it and I designed it. It was a black and silver production with Shylock in gold and black. Everyone looked splendid and so theatrical. The setting was a camourflage net which I sprayed silver and was lit so the textures changed across the back wall where it hung. We used the music of Michel Jarre which gave a contemporary feel to the production. It was a huge step forward for Rep and a very satisfying and pleasing production.
01.01.2022 Day 17 - Our Town (2012) as remembered by Judy Ellis During my time as a committee member and then President of Rep I was acutely aware of the limited opportunities for a lot of our members to find a part that suited them because of smaller casts in modern plays, the imbalance of male/female roles and few roles for older people or very young. In 2012 Rep was celebrating 80 years of community theatre, this occurred because of the members who remained involved for many years, ...because they loved theatre and wanted to get a part on stage, but who often spent time back stage or front of house. I saw Our Town as an opportunity to get as many actors on stage in a production as we possibly could. I was overwhelmed by everybody who turned up and auditioned, often for tiny cameo parts, and I easily assembled a cast of twenty three actors playing 28 towns people who were the residents of the community of Grovers Corners, Newhampshire. A crew of 14 creatives behind the scenes worked with me to pull this off - a real community effort! This play requires no formal set but Richard Critchlow and cast members transformed the workshop and dressing room areas to fit everyone in, there were no problems with people making and staying around for rehearsals. Thanks to Maureen Eaton Production Assistant and the amazing and caring Anne Powell Stage Manager and her assistant Christine Davey we managed a really inclusive community production. Our Town was a first ever on stage experience for Rose Musselwhite who shared the stage with her mother Melissa, for four schoolboys it was their first play outside of school productions, the youngest cast member was a 12 year old girl, it was an introduction to the Woodbin stage for David Postill, Glen Barton and Alard Pett. It was Barry Eeles 50th production and sadly the final one for Laurie Deale whose wife Dawn worked on costumes. Sue Rawkins and Melissa Warren were an entire church choir, Steve Howell brought along a horse, Vonnie Pilgrim was on stage and she probably painted the floor too. Colin Urquhart and Glenda Maddison had cameo roles and there was years of experience shared by Stacey Carmichael as Emily Webb and Mary Stueten as her mother and other rep stalwarts Robert Trott and Luke Murphy. Sue Broberg played the central role of the Stage Manager with professional flair. The music was all original composed by Camden Tilley, Sound and lighting was by Steven Georgiadis usually seen on stage in leading roles. All costumes were made or sourced by Nin Coutts-Slater in our own wardrobe department. Our Town was truly community theatre, there were lots of lasting friendships made and memorable experiences for all of us involved, and the audiences loved this Pullitzer prize winning play about a small American community in simpler times
