Shrek: The Musical ‘Inclusical’ by STaM

Shrek: The Musical

Shrek: The Musical Rating

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Set in a mythical “once upon a time” sort of land, this is the story of a hulking green ogre who, after being mocked and feared his entire life by anything that crosses his path, retreats to an ugly green swamp to exist in happy isolation. Suddenly, a gang of homeless fairy-tale characters (Pinocchio, Cinderella, the Three Pigs, you name it) raid his sanctuary, saying they’ve been evicted by the vertically challenged Lord Farquaad. So Shrek strikes a deal: I’ll get your homes back, if you give me my home back! But when Shrek and Farquaad meet, the Lord strikes a deal of his own: He’ll give the fairy-tale characters their homes back, if Shrek rescues Princess Fiona. Shrek obliges, yet finds something appealing–something strange and different–about this pretty princess. He likes her a lot, but why does she always run off when the sun sets?

We arrive in the Alexander Theatre foyer to see a swamp hut setting the feel of Shrek’s humble abode, a queue in the merch line entices us to buy some support cookies in theme and a spotlighted ‘green’ carpet for pics with our program.

This show is no ordinary version; an ‘inclusical’ by the one and only Stars and The Moon theatre company for all abilities known as “STaM” in Melbourne – with care they pair up kind ‘castmates’ and those having a special need to give them more confidence to perform; though you envisage it might, it does not detract from the show’s appeal or amazingness having two people play the one character. In fact, it definitely adds to the fun!! The sets, costuming and lighting are also nothing short of professional and the packed audience agrees with constant cheering. If you’ve read enough, you actually only have a slim chance to currently secure tickets as most shows are sold out!

 

 

We sit down in our ‘green’ tonight to hear firstly a comical introduction over the mic saying no gingerbread men have been harmed in making the show haha and that everyone can get up and dance and wiggle in their seats. Then ‘The Magic Mirror’ above us featuring Paralympic gold medalist Dylan Alcott entertains us with his one-liners and opens the show in Clayton where we are about to see a journey of embracing who you are.

We know this is going to be a good night as ‘Big Bright Beautiful World’ hits us very big and very bright! I’m already a bit emotional at watching the castmates carefully coax some of the performers onto the stage and within seconds they are all quite at home, many excited doing their second or third show with STaM.

Shrek played by Cameron Miller and Zac Parkes is larger than life as always and they have him down true to the Shrek we all know from the movie, even his speaking voice is almost identical.

Princess Fiona played by Chelsea Dawson and Lottie Coombes is just gorgeous, they both smash every song with their vocal ability and certainly a duet to long remember.

Two of my faves were Asher Stanton and Jordan French playing ‘Pinocchio’ and Eitan Meyerowitz and Zac Chester playing Big Bad Wolf, but really, ALL of the fairytale characters are FANTASTIC to watch and they do lots of funny quirky things on the side.

My eldest daughter, an avid musical theatre lover and regular performer in shows herself, came with me to this show and she was saying all the way through ‘he’s good’ ‘she’s good’ ‘they’re good’ in every scene. She was super impressed by the ‘Dragon’ singers but particularly loves to watch the ensemble, so never think you aren’t noticed if that’s you, because you surely are. e.g. the dancing mice feet behind the curtain (how cuuute), the girls with the ‘Awww’ ‘Gasp’ ‘Laugh’ signs (instructions for us viewers), everyone under that enormous red creature (you made us love watching her every move), and the Humpties who picked up the bricks to carry them all off without dropping them – well done!!!

Shout out to Gabe Harari and Evan Lever for their kneeling, knee walking ‘Lord Farquaad’ – both were absolutely hilarious!! Equally hilarious were Guillaume Gentil & Daniel Geng as ‘Donkey’ – I don’t think I have laughed so much from one character in any show I’ve ever enjoyed.

Dance timing in straight lines you might not expect to be exact in a show with limited abilities for some of the performers, but they were fabulous and every smile at each other and movement showed how much they loved being up there together. So many beautiful costumes too brought the whole live energetic picture together. We were so close to the stage as well we could feel the excited enthusiasm and nothing could beat the flag waving by all – even all of us in the audience got that green flag stuck on our seat and flipped it around like crazy!

All in all, a swamp load of serious talent in this show – you all deserved that full standing ovation and I’m sure there were plenty of proud tears from family and friends too, CONGRATULATIONS EVERYONE!

Lauren McKenna – Director
Michaela Raitman – Producer
Campbell Borello – Production Manager
SHREK – Cameron Miller & Zac Parkes
PRINCESS FIONA – Chelsea Dawson & Lottie Coomes (Covers – Jessica Mond, Lizzie Locke)
DONKEY – Guillaume Gentil & Daniel Geng
LORD FARQUAAD – Gabe Harari & Evan Lever
DRAGON – Dylan Don Paul (Dilonce) & Thanh-Tuok Autran

FAIRYTALE ENSEMBLE – Asher Stanton & Jordan French (Pinocchio), Ruth Ben-Danan & Alanna Baschera (Sugarplum Fairy/Gingy), Eitan Meyerowitz & Zac Chester (Big Bad Wolf), Teige Cordiner, Aidyn Patrzalek & Devin Goralsky (three Pigs), Mark J Rintoull, Zoe Better, Mia Decleva (The Bears), Ebony May & Katie McMillan (Fairy Godmother), Georgia Ellen & Danni Miller (Wicked Witch), Sarahbell Turvey & Tahli McLean (Duckling/Teen Fiona), Sayer Delves & Caomhe McCooey (White Rabbit/Baby Fiona), Alexander Gilbert & Jack Taylor (Peter Pan/Pied Piper), Jaimie Chapman & Tamara Stanton (Goldilocks), Jackson Harris & Mark Polonsky (Mad Hatter), Natasha Freiberg & Ellie Goldenberg (Humpty), Dani Filip & Shira Etzion (Hansel & Gretel), Jessica Mond & Jemima Scerri (Little Red)

DULOC ENSEMBLE – Tahlia Mandile, Charli Cantoni-Bud, Amy Tapp, Noah Prendergast, Adrian Salvatore, Lexi Kelsall, Ruby Alford, Alice Johnston, Carly Gauci, Lexie Goldenberg, Michaela Sacho, Kahli Anquetil-Kneale, Nineveh Dewhurst, Noa Godsell, Joshua Yip

GUARDS & DRAGON ENSEMBLE – Benji Kalkopf, Harry Stott, Brendan Saffer, Gilbert Esse, Tarus Fiu, Chris Patrzalek, Daniel Kraus, Sue Lesnjak, Lilly Lawrence, Lyndall Peachman, Jakob Demirel, Dan Don, Sienna Boorer, Savannah Mandile, Hayley Walsh, Raechelle Sibbing.

To find out more how you or someone you know with special needs and perhaps limited abilities can be involved with this very special theatre group see https://www.starsandthemoon.org/

Duration: Approx. 2 hours and 30 minutes including a 20 minute intermission. The show is easy access for all including assisted hearing, seeing-eye-dog friendly and wheelchairs of all sizes welcome. Wheelchairs on stage too with the performers loving every minute acting it up in this inclusical!

Venue: Alexander Theatre, Monash University Clayton Campus, 48 Exhibition Walk, Clayton. Free parking is available on site (more info). Please allow adequate time when planning your visit to find parking and the venue. Sometimes it is a 10minute walk from the car into the theatre.

To book tickets to Shrek: The Musical, please visit https://www.starsandthemoon.org/shrek.

Photographer: Matthew Chen

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The Pirate Queen – An Epic Musical & Australian Premiere

The Pirate Queen

The Pirate Queen Rating

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Based on the real-life story of history’s Grace O’Malley – an Irish Chieftain and notorious pirate, The Pirate Queen is an adventure chronicling the compelling, inspiring heroine who led an extraordinary life as a rogue, lover and mother in 16th-century Ireland. To protect her people and save her one true love, O’Malley must confront the one woman more powerful than her — her fierce rival, Queen Elizabeth I of England.

From the writers of Les Misérables and Miss Saigon, the show combines classic storytelling and a sweeping score, with the powerful, vibrant traditions of Irish dance and song, to create a modern musical event that is both historic romance and a timeless epic.

Excited to be celebrating their 80th anniversary in 2025, MLOC Productions is the third oldest community theatre group in Australia. Founded in 1945 as the Mordialloc Philharmonic Society, they originally attracted return service men and their wives to form part of an 80-strong choir. Early performances included the opening of 1956 Melbourne Olympic Games. By 1985, the group had become Mordialloc Light Opera Company (eventually abbreviated to MLOC) and have been performing a variety of productions in south-east Melbourne ever since. The Pirate Queen is an Australian first!

Being a new production to Australia, I had no idea what to expect and no pre-conceived expectations which is always adds difference either way because most shows (especially musicals) one has usually seen or at least heard about before. All I knew was that MLOC had done their amazing promo photo shoot at The Polly Woodside in Melbourne which intrigued me to see the show along with advice from a friend who went to the opening night and had loved it.

Firstly, this is a HUGE show requiring HUGE vocals and the main roles especially really have their work cut out for them in every song. HUGE applause therefore to Ella Fryer in her first lead role in a musical (playing ‘Grace O’Malley’) and Nickolas Brown, also his first lead role in a full-scale show (playing Grace’s true love ‘Tiernan’).

I think the character of Grace probably sang the equivalent of about an hour total, unbelievable stamina up there girl, good job!

Tiernan’s solo ‘I’ll Be There’ was a memorable rendition of heartfelt connection we hope all our men feel for us women, and coming from someone so young, very impressive!

 

 

Their entire supporting cast has enthusiasm to boot, (boots donned from the era of course). Varying ages in the show from Grace’s son (played by Jake Christie) to those like Evleen (played by Margot Sephton a MLOC life member) with a ton of stage presence over decades was lovely to see. It’s so important in theatre to bring up the next generation and that’s why I think community theatre groups just keep going full steam ahead; they are full of encouragement and support, both on and off the stage and they are not afraid to try something new.

The story of The Pirate Queen resonated a little of Disney’s ‘Mulan’ at the start as Grace pretends she’s a boy to get onto her father’s ship unnoticed, ‘Les Mis’ with sorrow and hardship, then throwing in some interesting accents similar to that given in ‘SIX’ and ‘Hamilton’. This newcomer to musical theatre certainly has the potential to fit in right where aiming its sword.

And no pirate themed anything would be complete without a sword fight or three. I particularly liked the one where they used slow motion and moderate strobe effect lighting (favourable note here that full/fast strobes are so unsuitable for many watching and though this show could’ve used them they didn’t).

Stormy seas are brought to life with the sudden drop of a massive sail giving us on our seats a gasp with it plummeting near the actors underneath, but yes, thankfully it was part of the theatrics, phew!

Transportation to the Emerald Isle is made authentic by the beautiful music and Celtic feel (special mention to Matthew Horsley, Claire Rainey & Brodie Nash on the pipes and whistles). The energy and true Irish dancing to this music has you toe tapping and there is great musicality in the choreography, as also noticed and mentioned by the friend I went with. We gave a shout out to Wendy Perrow. I couldn’t take my eyes off her quick feet embracing the poetry in motion of all those hops and heels up with the biggest smile of enjoyment on every step; she was having a ball portraying the Irish liveliness of more joyous scenes in weddings and birth celebrations (a baby born on stage, was a new one for me).

The costuming is exquisite; an embellished white gown of the Queen, the rich red and gold of those who guard her empire, and those dancing around the maypole with puffed sleeves, long petticoats and velvet ribbons – wonderful details along with those pirate outfits and boots on the ship sailing Clew Bay in 1558, the domain of the O’Malley clan.

‘Clan Rivalry’ is one thing I’ve experienced first-hand; I married a ‘Campbell’ and I found out you cannot visit the Highlands even these days without comments about their history with the ‘MacDonalds’ competing for dominance from every tour guide and pub owner…. However in this show the O’Malleys must make alliances with the O’Flaherty clan and so together the fathers of Grace O’Malley and Donal O’Flaherty (played entertainingly by Tyler Delacretaz) make a pact, and Tiernan, Grace’s true love, must step aside. Will he ever have the chance to reunite with her again? After all, Grace did say ‘you have my hand’ earlier…..

One thing is surely known after seeing The Pirate Queen’s curtain closing, the adventure spirit is alive and well in amateur theatre and I look forward to more shows from MLOC.

Congratulations to the creative team and cast, it takes bravery to put on a show that hasn’t been seen here before and you have conquered!

CAST

GRACE Ella Fryer
TIERNAN Nickolas Brown
LORD BINGHAM Keegan Dart
QUEEN ELIZABETH I Niamh McPartland
DONAL O’FLAHERTY Tyler Delacretaz
DUBHDARA Jarod Rhine-Davis
CHIEFTAN O’FLAHERTY Nicholas Bywater
EVLEEN Margot Sephton
MAJELLA Bridie Clark

Ensemble:
Amber Hoffman, Amy McKie, Arlo Hitchman, Bailey Ogden, Carmilo Idarrage, Christina Gladman, Edison Hernandez Castrillon, Hope Beale, Jake Christie, Lyndsay C Kirkham, Madeleine Fox, Maria Ah-Yu, Mikayla Brown, Shannon Woollard, Tanya Steele, Tegan Haywood, Shayla Warwick, Shelley Connell, Veronica Devlin, Wendy Perrow.

Playing: 1-19 July, 2025

Venue: Frankston Arts Centre, 27-37 Davey St. Frankston, Vic. The venue (undergoing some renovation currently didn’t affect our viewing) has its own paid car parking onsite, lots of street parking around the area plus heaps of restaurants and cafes, but there is also a generously sufficient bar, coffee and snack bar inside the theatre venue itself too.

Production Team:
Artistic Director – Chris Ryan
Musical Director – Matthew Pines
Choreographer – Bridie Clark
Vocal Director – Alyssa Sorgiovanni
Production Manager – Debbie Jenkins
Sound Designer – Daniel Bowen & James Dobson
Lighting Designer – Daniel Bowen & Chris Ryan
Costume Co-ordinator – Debbie Jenkins

Book by ALAIN BOUBLIL, CLAUDE-MICHEL SCHÖNBERG, RICHARD MALTBY JR.
Music By CLAUDE-MICHEL SCHÖNBERG
Lyrics By ALAIN BOUBLIL, RICHARD MALTBY JR., JOHN DEMPSEY

To book tickets to The Pirate Queen, please visit https://mloc.org.au/productions/the-pirate-queen/.

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Loving The Alien

Loving The Alien

Loving The Alien Rating

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David Bowie was an icon in every aspect of his art. Through music, shows and myriad personas, the iconic rockstar remained relevant for decades as an icon of glamorous, theatrical spectacle. The show Loving The Alien juxtaposes itself with this history, interweaving songs and anecdotes to tell a story not of Bowie The Rockstar, but of Bowie The Narrative. In the process, creator and performer Karlis Zaid aims to answer the deceptively simple question: who was David Bowie?

The show’s stripped-back aesthetic complements this quest well. It’s unusual for a show about one of the most ostentatious rockstars to ever live to take place in a black box with four smartly dressed performers, their instruments and some slightly more elaborate lighting design. This may explain why the audience seemed awkward at first, but Zaid and co-star Aurora Kurth did an excellent job at easing us gently into the show’s world. Their easy banter created a nerdy superfan vibe, and the vocal performances were dramatic while still feeling natural and fun. The cast’s passion was their greatest asset, there were more laughs and vocal reactions from the audience as the show went on and by the end, we were all out of our seats, clapping and singing to ‘Heroes’.

 

 

The songs themselves, performed by Andrew Patterson on keys and Aaron Syrjanen on guitar, are lovingly crafted arrangements that feel familiar and welcoming while still offering surprises. ‘Sound and Vision’ is retooled into a smooth ballad, ‘Changes’ and ‘Let’s Dance’ start softer and build to great climaxes, and ‘Fame’ and ‘Ashes To Ashes’ used beautiful harmonies to highlight how well Zaid and Kurth’s voices work together. They’re also placed very well throughout the runtime, not always chronologically but mirroring the stories told in between to create a subtle emotional arc. The last two songs in particular hit with a sombre tone that feels earned and cathartic. Nothing feels out of place, though with a repertoire as strong as Bowie’s it would be difficult to put a foot wrong.

The lack of visual references makes it clear that the show is for people who are already fans of David Bowie. We know the songs, and we may know some of the stories, so it’s up to Zaid and his team to put them in a new context. The story of Bowie’s life is told in quite broad sweeps and given the show’s theme of finding the man underneath the image, it may have been nice to examine and with more of Bowie’s personas – the only one who gets significant discussion is Ziggy Stardust. However, the show is clearly not trying to be a straight biography. When specific events are focused on, they’re often less known or more controversial details about Bowie’s life, such as an exploitative contract he was under or the role he may have played in the breakdown of his marriage to his first marriage. Due to its personal nature and willingness to explore all sides of Bowie’s narrative, the script steers clear of hagiography and ensures that most people will learn at least one new fact about their favourite rockstar.

Loving The Alien lives up to its name by inviting us into a heartfelt, thought-provoking dive into Bowie’s story. The love and care is clear in the music, performances and writing, and while it may not be the Bowie tribute you may expect, fans will find a lot of joy and pathos in it. Whoever Bowie was, as a person and performer, this show demonstrates why we still care, and why it will always be important to celebrate uniqueness and otherness wherever it flourishes.

To book tickets to Loving The Alien, please visit https://www.artscentremelbourne.com.au/event-archive/2025/contemporary-music/loving-the-alien.

Photographer: Angel Leggas

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Mary Poppins: Mountain District Musical Society

Mary Poppins

Mary Poppins Rating

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Mary Poppins would have to be one of the most well known stories from everyone’s childhood. To see it in a musical, no matter how many times you’ve seen it before, is always special! Producing this showstopper at the moment is Mountain District Musical Society.

Based on the books by P.L. Travers and the classic Walt Disney film, Disney and Cameron Mackintosh’s Mary Poppins delighted Broadway audiences for over 2,500 performances and received nominations for nine Olivier and seven Tony Awards, including Best Musical.

Mary Poppins is an enchanting blend of an irresistible story, breathtaking dance numbers, and unforgettable songs – including classic favourites such as A Spoonful of Sugar, Supercalifragilisticexpialidocious, Feed the Birds, and Step in Time.

Playing 13-22 June 2025 at Karralyka in Ringwood within a beautiful theatre, this show was a complete 5-star viewing. So good that my Mum who went with me said she would go again and she doesn’t even have young grandkids or know anyone in it as encouragement to see. This is a jubilant show for all ages.

 

 

Mary Poppins (played by Hannah Simos-Garner) is so practically perfect in every way of course! Hannah never loses her ability to keep in character with Mary’s ‘spit spot’ personality and even when she takes her bow at the end of an energetic finale she remains the ‘prim and proper’ person she is after having cast her magical talents over an amazing stage set and supported by a gifted cast.

Bert (played by Jason Sainsbury-King) is, I think, the best character in Mary Poppins; I’ve always loved him. He’s the sort of person we all want in our life; dependable, living in the moment, never gives up and steps in time with others and on his own. Jason gives a unique adaptation of Bert on stage – he’s funny and so engaging with the audience that we think at times we are about to jump in the show with him. “That was a little bit scary” he says as he pops out of the audience in one part and we all laugh; I again think how wonderful he is. And yes, some scenes are a touch scary, but it’s all done with crazy wonder, like a broken toy ‘Valentine’ (played by Hamish Williamson) squeezing through the cupboard to become life size in front of us with a bewildered ballerina, doll, bear, jester and more …

Downstairs at his desk at home or doing his important work at the bank, Mr George Banks (played by Cale Maclaren) is a stand-out. Cale’s experience shows off Mr Banks stout actions and soft side very well as the relied-upon cornerstone of the Banks family. Mrs Winifred Banks (played by Kelliann Brady) shines when she gets the chance to address her husband’s employers and you realise the story of ‘Mary Poppins’ is really about them, their family and what is actually important in having one.

The Banks children, Jane and Michael, are roles much sought after and the kids’ audition slots are usually quickly booked out. I’ve seen many an exceptional youngster reading out the letter to their ideal nanny in my time, but I applaud tenfold the two I saw tonight in Jane (played by 10 year old Mila Orchard, practically a veteran of theatre already) and Michael (played by 9 year old Charlie Laughton, a cello and piano player plus singer and dancer).

Mila has grown up in her family’s dance school and her training in not only dance, but vocal and acting is proven here. She holds the floor quite a lot with extensive dialogue and doesn’t forget about her actions in smaller details either. Charlie as Michael Banks has all his mischievous and comically naughty expressions down pat. I’ll bet he had tons of fun doing this show practicing them as he’s very genuine in his antics. Both of these kids are unforgettable as Jane and Michael, well done!!! (Note: the children’s roles are shared and you may see equally talented Clementine Lidstone and Elliott Hayes at a different show).

 

 

My favourite scene was without a doubt the unveiling of Supercalifragilisticexpialidocious… go to see this nonsensical word come to life that has become synonymous with ‘Mary Poppins’ and its themes of joy and magic; in this show it is PURE JOY! Hugely well co-ordinated dancing by all, from the cutest littlest cast member Emersyn (also playing one of those cheeky penguins in the park scene), to Mary Poppins (Hannah belting it out confidently), in a spectacle on stage that will have you not wanting it to end (luckily they do an encore).

Following a close second to my favourite was naturally with my dance background ‘Step in Time’. How can you not love this rhythm. The ensemble get to show off here and they are brilliant!! Energy plus some!! What great choreography and geez the stage awareness by everyone – so much is going on; “yes, good job, woo hoo” I’m saying all the way through as they partner up and nail their formations. Tap dancing is a rarer skill displayed these days but you’ll definitely get a fix at this one. I’m always listening out for comments from the audience and after the show I heard a young boy say he wanted to learn to dance like the chimney people (his Mum said “you liked the noise?”) – how gorgeous and it’s worth having your kids be noisy to learn tap.

My Mum’s favourites were Mrs Brill, Robertson Ay and Ellen (played by Felicity Eastwood, Jacob Sellenger and Laura Steel), three hired help in the Banks household who will have you in fits at their harmonious but hilarious chaotic shenanigans.

I have to mention a few others too (did I say this show is AMAZING):

The meaningful and heartfelt ‘Feed the Birds’ solo by Marina Martin whereupon you never look at flocking pigeons in the same way again and there was a tear in my eye when Mr Banks favoured her plea – the look on Marina’s face said it all; kindness is king.

A shout out to the formidable nanny come-back of Miss Andrew’s ‘Holy-Terror’ ways hitting vocal notes that had the audience awe-struck and was once again portrayed perfectly by Sarah Power (her make-up made the character look fierce but in a comical way which I thought was better for kids viewing, so well done by the costuming team).

Mrs Corry (played by Nicole Kapiniaros-Anson) and her brightly-haired daughters – fabulous costuming and fabulous voices and dramatic involvement – loved them and the wigs! And for everyone all around them, BRAVO, you’re all on it, in it and living live theatre to the full.

I also liked watching the girl with the yellow kite dancing and all the kites flying on stage. Theatre shows can bring us such lovely reminders of memories we hold dear from our own childhood days or those of watching our own children discover. The looks of excitement in flying a kite is one – caught by the smiley ensemble members who make the show what it is overall, they add the backing board for those lead roles to be in a realistic moment.

I could go on and on, but Bert finally closes the door at 17 Cherry Tree Lane, leaving a happy family inside and having said a happy farewell to Mary Poppins before she flies across the sky, but also leaves the audience skipping out and having ‘a spoonful of sugar’ or ‘chim chim cher-ee’ happily singing in our heads.

Congratulations Mountain District Musical Society. For information on future shows of MDMS, please visit: https://www.mdms.org.au/

CAST:

MARY POPPINS – HANNAH SIMOS-GARNER
BERT – JASON SAINSBURY-KING
GEORGE BANKS – CALE MACLAREN
WINIFRED BANKS – KELLIANN BRADY
JANE BANKS – MILA ORCHARD / CLEMENTINE LIDSTONE
MICHAEL BANKS – CHARLIE LAUGHTON / ELLIOTT HAYES
MRS BRILL – FELICITY EASTWOOD
ROBERTSON AY – JACOB SELLENGER
ELLEN – LAURA STEEL
ADMIRAL BOOM – MICHAEL GIBSON
MISS LARK – ELLEN LANE
MRS CORRY – NICOLE KAPINIARIS-ANSON
BIRD WOMAN – MARINA MARTIN
MISS ANDREW – SARAH POWER
NELEUS – HAMISH WILLIAMSON
BANK CHAIRMAN – STEVE ATKINSON
KATIE NANNA / MISS SMYTH – ELEANOR HORSBURGH
PARK KEEPER / JOHN NORTHBROOK – RYAN JACOBS
VON HUSSLER – NICK TOOVEY
POLICEMAN – DAVE SLY

ENSEMBLE & ARTISTS:

CALLUM HALSTEAD
ADDISON WILLIAMSON
ALLEGRA JACOBS
LEXI ZACHARIASSEN
OLIVIA SIMOS-GARNER
EMERSYN ORCHARD
ISABELLE DA COSTA
RUBY QUINN
CHLOE FONG
ISLA EVERETT
EMILY ABRAHAM
SONIA AGJEE
JENNA AL BUSAIDI
CHARLIE BARNETT
ALEX CORR
AMELIE EVERETT
MELISSA HILL
TYLER LEVY
LUCY BRADY
JESSICA CLARK
BEC CORNELL
KRISTY CORNELL
NICOLE ROTENSTEIN
ALI STEWART
CADENCE VALK
STEPHANIE VIENET

Director: Anne Dewar, Musical Director: Vicki Quinn, Choreographer: Amber Orchard, Stage Manager: Craig Dewer, Production Manager: Lyn Alexander, Set Design: Chris White, Lighting Design: Yaz Sesta, Sound Design: Peter Philip / David Drew, Program Design: Emily Dewar, Projection & Video Design: Brenton Van Vliet.

The amateur theatre group of MDMS has commitment to fostering an inclusive environment for people of all cultures, beliefs, identities and abilities. Community theatre at its best so don’t miss BEAUTY AND THE BEAST next year with MDMS.

Venue: Karralyka Theatre is at 22A Mines Rd, Ringwood and is easy to get to with plenty of parking. Comfortable seating and good viewing whether you sit front or back rows.

Photographer: Gavin D Andrew

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