DIRECTOR’S NOTE PRESIDENT’S NOTE

I was visiting New York in the summer of 2006 and had After the magic of Mary Poppins, I
pre-booked to see Wicked and Spamalot, as both were
on my “must see” list. I had a day to spare so I eagerly
wandered the streets around 42nd and Broadway to
see what else might interest me. Playing at the Marquis
Theatre on Broadway was The Drowsy Chaperone. I read
the billboards, studied the cast list and photographs and
thought long and hard. Just to be sure, I went around
the corner to the Broadhurst Theatre and there was
The History Boys by Alan Bennett starring the
wonderful late Richard Griffiths. Again I read the
billboards and studied the cast list and photographs –
then I tossed a coin – The History Boys won and I must
confess I had a wonderful afternoon in the theatre.
The unusual name, The Drowsy Chaperone continued to
haunt me, so on my return I read further about it and
found a couple of YouTube clips, together with the usual
television reviews and interviews, all of which made
me wonder if I had made the right choice that day in
New York. Finally in 2010 I was able to see the show,
courtesy of the Melbourne Theatre Company here in
Melbourne, starring Geoffrey Rush. I was hooked -
such fun, so entertaining and such a wonderful concept
of how to present a show. When CLOC gave me the
opportunity to direct it, I was overjoyed as I felt I had
come the full circle with this show.
True to their reputation, CLOC has assembled a great
creative team. I am confident you will be dazzled,
thrilled and entertained by what you see on the stage
and I am indebted to each and every one of the team
for their outstanding contribution. It is now over forty
years since I first involved myself in a CLOC show and
over the subsequent years, I feel blessed to have been a
part of such a great music theatre success story.
Alan Burrows
Director
take great pleasure in welcoming
you on behalf of the entire CLOC
team to a change of pace with this
rarely performed but much admired
musical gem, The Drowsy Chaperone.
CLOC takes great pride in presenting
our audiences with a broad range of
musical theatre experiences from all
genres and eras and I am confident that you will succumb to the
charm of this show and its zany cast of lovable characters.
CLOC was recently delighted with the news that Grant Alley,
who preceded me as the President of CLOC for 25 years, was
recently awarded an Order of Australia medal. This award is
formal recognition of the lifetime of devotion that Grant has
given both to CLOC and to the wider theatre community. On
behalf of everyone who has ever been associated with CLOC, we
congratulate Grant on a well-deserved honour. You can read more
about Grant’s honour below.
Most of you will have noticed that we have introduced a new online
ticketing system. This system has made purchasing a ticket to a
CLOC show much easier and more user-friendly – allowing you
to purchase your tickets online, choose your preferred seats and
print out your tickets at home. This is great news for many of our
patrons. We do however still have our telephone booking line open
with our friendly ticket team on hand to assist those people who
may prefer a more personal interaction when purchasing tickets.
And finally, as we continue to look to the future, we are very
excited to announce that for our first show in 2016, we will be
presenting the Australian non-professional premiere of Wicked,
the megahit musical prequel to the immortal Wizard of Oz, which
recently finished a very successful seven year continuous run
throughout Australia and Asia. Work is already well underway
to bring this very special treat to our audiences, so this will be
something not to miss. We look forward to welcoming you
back in May 2016 for a memorable night at the theatre.
Cameron Osborne
President

Grant Alley, OAM

In the 2015 Queen's Birthday Honours List, Grant Alley was recognised with an Order
of Australia Medal (OAM) for his service to the performing arts, particularly theatre.
Currently serving as CLOC’s Treasurer, Grant was the President between 1990-2015.
In addition he has been CLOC’s Technical Director since 1974, a Committee Member
since 1970 and a member of the Production Team since 1969. Grant has dedicated
46 years to CLOC Musical Theatre and given his time and expertise to the theatre
community at large.
Congratulations Grant - a well-deserved honour!!

2
 Music & Lyrics by Book by
Lisa Lambert & Greg Morrison Bob Martin & Don McKellar
with
Tony Burge, Pam Christie Birkett, Michelle Hunt, Blair Salmon, Kinloch Anstiss, Tim Minturn,
Ric Birkett, Maree Barnett, Beryle Frees, Phil Lambert, Zachary Alaimo, Damien Calvert, Julia Duke
Jenna Featherstone, Scott McLeod, Luke McShane, Sophie Wheale
Alan Burrows Martine Wengrow Di Crough Wendy Belli
Director Musical Director Choreographer Assistant Director/Choreographer
Graham McGuffie Victoria Horne Keith Tucker Marcello Lo Ricco
Set Designer Costume Designer Lighting Designer Sound Designer
Sandra Davies Grant Alley Debbie Osborne Bernard Hedger
Stage Manager Technical Director Production Manager Stage Director
Assistant to the Director
Melinda Peebles, Victoria Horne Jodie Lawson David Wisken Natalie Della Grazia
Costume Co-ordinators Props Co-ordinator Wig Designer Make-up Designer

OCTOBER 2 - 17, 2015

The National Theatre, St. Kilda
‘Original Broadway production of The Drowsy Chaperone produced by Kevin McCullum,
Roy Miller, Bob Boyett, Stephanie McCullum, Barbara Freitag and Jill Furman’
By arrangement with Hal Leonard Australia Pty Ltd, Exclusive agent for Music Theatre International (NY)

3
 DIRE C TI ON
& D ES IG N
Starting life as a junior
onstage performer
alongside his late parents,
Harold and Doreen, then
graduating to lead roles as
an adult, Alan Burrows is
now one of the most
well-known, well-regarded
and prolific identities in the
Alan Burrows Melbourne dramatic and musical
DIREC TOR
theatre communities. ‘Busy’
does not even begin to describe Alan’s directing life – most years,
he averages four productions, straddling companies, styles and forms,
schools, corporates and organisations. After over 40 years of directing
both professional and non-professional musicals, operas, pantomimes and
straight plays, Alan thinks his count of shows is now over 200 – that is
a lot of creative output. He has been feted and recognised by the Music
Theatre Guild of Victoria, the Victorian Drama League and the Lyrebirds,
with both nominations and awards, and in fact was the 2013 recipient of
the Lyrebirds Hall of Fame award. For CLOC, Alan has appeared in two
shows, written two concerts/reviews and directed 19 previous productions,
starting with Can-Can in 1975, and including such standouts as Mame (in
which he directed his wife Christine Andrew in a Guild award-winning lead
actress performance), Singin’ in the Rain, Barnum, Evita, Funny Girl, Cabaret,
My One and Only, 1776 (Guild award-Best Director), Mack & Mabel, Steel
Pier, and both our productions of 42 nd Street, in 1996 then again last year as
our 100th celebration remounted production (both times receiving Guild
nominations as both director and production of the year). Awarded Life
Membership of CLOC in 2010, this is Alan’s 24th CLOC production and
his 41st anniversary of working with CLOC, achievements we think very
appropriate to recognise, applaud and salute.

4
 A professional musician with
interests in many areas,
Martine holds an Honours
Degree in Music Composition
from the Melbourne
Conservatorium of Music,
where she was awarded
the title of Valedictorian
of her graduating year.
Martine Wengrow Martine teaches aural skills:
MUSIC AL DIREC TOR
transcription, harmony,
arranging, musicianship and theory, at the Melbourne
Di has been a singer/dancer/
actress for over thirty
years. She has worked
professionally in musicals,
cabarets, theatre restaurant,
video clips and television. She
has played lead roles with
many companies including
Sally Bowles (Cabaret),
Di Crough Velma Kelly (Chicago), Anna
CHOREOGR APHER
(The King and I), Dorothy
Brock (42 Street) and Lina Lamont (Singin’ in the Rain)
nd

Conservatorium of Music. She also writes professionally for
musical theatre companies in Melbourne and Sydney, and
arranges for various TV series such as Channel 7’s
The X Factor. A passion for musical theatre has played a
central role in Martine’s professional life since her days on
stage at school. She has worked as rehearsal pianist, orchestra
keyboardist, arranger, conductor and musical director
for many of Melbourne’s musical theatre companies and
productions. Her first CLOC show was High Society (2009),
followed by Dusty, All Shook Up, The Phantom of the Opera,
Guys and Dolls, 42 nd Street and Legally Blonde, which she loved
so much that she worked on three consecutive productions
of it (CLOC, Caulfield Grammar, PLOS). She is currently
playing keyboard part time for Disney’s The Lion King at
the Regent Theatre, so we are very glad to have snared her
services to make her musical directing debut with us.
– all for NOVA, Anita (West Side Story-Catchment), Lola
(Damn Yankees-Dandenong, Guild nomination), Mavis
(Stepping Out-Lilydale Athenaeum) and Irene Molloy (Hello
Dolly-Whitehorse). Di’s choreography experience includes
Footloose (Lyrebird Award), Hot Mikado, Stepping Out,
The Sound of Music, The Boyfriend, South Pacific, The Best Little
Whorehouse in Texas, Nunsense, Carousel (Lyrebird nomination),
The Phantom of the Opera (Lyrebird nomination), The King
and I and Joseph And the Amazing Technicolour Dreamcoat.
Di has also written, directed and choreographed numerous
productions, concerts, choirs etc in her role as a Performing
Arts Teacher. Di returns to CLOC for the fifth time, after
appearances in Barnum, George M!, Shout! and her last
appearance as the alternate Dusty in our 2010 production of
Dusty. This time, Di is delighted to be working on the other
side of the footlights as choreographer for a show she loves.

Dance in all its forms has formed the markers and milestones of Wendy’s life - studying,
teaching, choreographing and performing. As Wendy Bent she commenced ballet training
with the late Marie Cumisky (well known as a theatre choreographer), before moving
to the Victorian College of the Arts. After graduating in 1989, she began to teach
classical, jazz and tap classes, while beginning her performing career with Festival Theatre
Company in 1990, playing Anne in their spectacularly successful production of La Cage
Aux Folles. Over the last 25 years, Wendy has performed and choreographed in
musicals with companies all over Melbourne. Since 1992, CLOC has played a
Wendy Belli TOR/ major role in shaping Wendy’s life. Not only has she performed, choreographed
ASSIS TAN T DIR EC and/or worked backstage in fifteen CLOC productions (most recently,
GR APHER
ASSISTANT CHOREO choreographing our world premiere production of The Phantom of the Opera,
in 2013), but in 1996, while working as part of the backstage crew for our first incarnation of 42 nd Street, she
met one of our long-standing floor managers Paul Belli (who is still part of our crew, working backstage
during this season as well), and CLOC proudly chalked up yet another marriage. Wendy and Paul now have
two gorgeous children (Madeline and James) who are already showing signs of following their parents’
theatrical passions. When not dancing, or choreographing, Wendy’s life is still all about dance, as she
has her own Dancewear and Fairy Shop in Berwick, called ‘Dance n Dreams’. This is Wendy’s second
time assisting Alan, after working as his Assistant Director for CLOC’s Anything Goes in 2000.

5
 Graham has spent over sixty years as a
scenic artist, set and lighting designer and
worked as resident designer at Monash
University’s Alexander Theatre for twenty
five years, where he designed and lit dozens
of productions, while also designing touring
sets for the Victorian Arts Council and
all designs for Garry Ginivan’s children’s
shows (including Possum Magic, Tales of Peter
Graham McNE Guffie Rabbit, Wombat Stew, Hairy McLairy and
SE T DESIG R
Mr Stripey, all touring Australia and/or New
Zealand). His professional work has included designs for the 1998 Australian/
Hong Kong English National Ballet tour of Swan Lake, the 2013 Australasian
tours of Yes, Prime Minister and Mrs Brown’s Boys. As well as musicals, Graham
has designed plays for many companies, most notably Lilydale Athenaeum
Theatre, with highlights including Educating Rita, Taking Steps, Proof,
Death of A Salesman, Twelve Angry Men, and The Woman in Black. Graham’s
first CLOC design was for both the set and lighting for our Australian
Premiere of Sweeney Todd in 1983. Set and/or lighting designs for CLOC
then followed including Follies, City of Angels, Sunday in the Park with
George (Guild Award), Les Miserables (Guild Award), Into the Woods
(Guild Award), Blood Brothers (Guild nomination), Man of La Mancha
(Guild nomination) and most recently, our 100th production 42 nd Street
(Guild nomination). He has been recognized with awards from the Music
Theatre Guild, the Lyrebirds, the Victorian Drama League and is also the
recipient of a Monash University award for exceptional service to the
theatre and a Green Room award for Technical Excellence.

Vicky has been designing and creating

costumes for dance, stage and musicals
for over twenty years. She received
Guild nominations for the two PLOS
shows she designed – Cabaret (2006)
and Thoroughly Modern Millie (2008). For
CLOC, Vicky started on the sewing
team for Shout!, and then either
designed and/or coordinated costumes
Victoria HornNEe for Hot Shoe Shuffle (2008-Guild
CO STU ME DE SIG R
nomination), Miss Saigon (2009),
Dusty (2010-Guild nomination), Fiddler on the Roof (2011), All Shook Up
(2012-Guild nomination), Guys and Dolls (2013) and her much admired
extravagant designs for last year’s 100th production 42 nd Street. She then
took her sequins and feathers with her to Babirra, where she won more
plaudits for her superb designs for Crazy for You. Both her 2014 shows
were justifiably nominated for Guild awards, which she won for
Crazy for You. And if you saw CLOC’s Mary Poppins earlier this year,
I think you will agree that the costumes were one of the highlights of an
all-round spectacular production. The Drowsy Chaperone marks Vicky’s
10th collaboration with CLOC.

6
 Keith has been involved in theatrical lighting
design from his time as a student at Monash
University, where he was guided and mentored
by resident designer Graham McGuffie. Keith
went on to become Resident Lighting Designer
with the Australian Dance Theatre in Adelaide
followed by many years of freelance design for
numerous companies throughout Australia.
Keith has lit shows for choreographers such
Keith TuckerNER as Graeme Watson, Leigh Warren, David
LIGHTING DESIG
Atkins, Jonathon Taylor, Ariette Taylor and
Nanette Hassall. He has also lit theatrical productions for the State Theatre
Company of South Australia and Sydney Theatre Company, working
with directors such as Robyn Nevin and Simon Phillips. Since creating
production company Megafun he has designed the lighting for numerous
international companies such as The Great Moscow Circus throughout
Australia, China and South Africa, The English National Ballet in Asia
and Australia, The St Petersburg Ballet in Australia and New Zealand,
Michael Edgley International, the Anzac Military Tattoo and Lucy
Guerin Dance company throughout Europe, America and Australia.
One of his most memorable projects was as Creative Producer of the
2006 Melbourne Commonwealth Games Opening Ceremony River
Event featuring the spectacular fish on the Yarra River. We welcome
Keith back to CLOC after a break of 33 years for his fourth CLOC
production, and his first since No, No Nanette in 1982!

Marcello studied Performing Arts at

Monash University before completing
Audio Engineering studies at SAE
Institute and has worked extensively
in sound design. Marcello’s most recent
theatre sound designs include Australian
premier productions of NED – A New
Australian Musical, In The Heights
(StageArt), Frankenstein – A New Musical
co (WMTC) and Dreamgirls (StageArt). Other
Marcello Lo RicNE R recent work includes Legally Blonde (PLOS),
SOUN D DE SIG
Avenue Q (Trifle – Comedy Festival), The
Addams Family (PLOS), Miss Saigon (Footlight), Loving Repeating (Vic Theatre),
Evita (Encore - Tasmania), Parade (BottledSnail), The Music Theatre Guild of
Victoria Awards, Les Miserables, The Witches of Eastwick, Anything Goes, Gypsy,
Footloose, Shout! , Cabaret, Grease, All Shook Up, The Wiz, The Pajama Game and
Children of Eden. Marcello has received awards for best sound for a musical for
The Phantom Of The Opera, Cats, Miss Saigon, Into the Woods and Sweeney Todd.
The Drowsy Chaperone is Marcello’s sixth consecutive show with CLOC, after
The Phantom of the Opera, Guys and Dolls, 42 nd Street, Legally Blonde and
Mary Poppins.

7
 Over the last 15 years, Tony
(‘Bones’ to his friends) has appeared
in over twenty shows for a number
of Melbourne companies, most
notably Fab Nobs, for whom Tony
has played roles in twelve shows,
including their 2012 production of
The Drowsy Chaperone, in which he
played one of the gangsters. He also
Tony Burge appeared in four Whitehorse shows
MAN IN CHAIR
and has performed with Catchment,
Mountain District Music Society, Dandenong Theatre Company,
Players Theatre Company and most recently, he appeared as Basil
Fawlty in Lilydale Athenaeum’s production of Fawlty Towers. Tony made
his CLOC debut in our 2011 production of Fiddler on the Roof, playing
Mendel, the Rabbi’s son. With this show, Tony has fulfilled two long-held
dreams – to return to CLOC and to play a role he loves and has coveted.

Pam is a powerhouse performer, whose every on-stage

appearance has garnered acclaim, nominations and
awards. Originally from Shepparton, in 1989 she
was a grand finalist in the nationwide Australian Singing
Competition (Contemporary Section). Joining
Shepparton Theatre Arts Group in 1994,
she received Guild Nominations
and regional awards for her roles
in Les Miserables (Fantine), Chess
Pam Christie Bir kett (Florence) and Jesus Christ Superstar
SY CH AP ER ONE
THE DROW
(Mary), and won the Best Actress
Music Theatre Guild award for her performance as the Baker’s Wife
in Into the Woods (1996), again as now, playing opposite husband Ric.
Since relocating to Melbourne, she has performed in four previous
CLOC productions and has the remarkable distinction of winning the
Supporting Actress Guild Award for three of these performances
(Amy in Company 1999, Countess Charlotte Malcolm in
A Little Night Music 2000 and Mrs Lyons in Blood Brothers
2007), and being nominated for the fourth (Dorothy
Brock in last year’s 42 nd Street, again directed
by Alan and costarring husband Ric).
Between these performances, Pam
took some time out to create and
produce two other major productions
– sons Michael and Danny, now aged
13 and 10, and her biggest fans. After
last year playing opposite husband Ric, who
appeared as her on-stage nemesis, she is delighted
to this time once again be sharing the stage and
spotlight with him.

8
 Michelle hails from Utah in Salt Lake
City, USA, and is a new arrival in
Melbourne, having been here for
less than a year. And why is she here,
you may ask? Well, for the obvious
reason – LOVE, just like Janet! Yes,
while working as an entertainer on a
cruise ship, Michelle met her British
beau, who was working on the ship as
Michelle HuntAAFF an engineer, and was offered a job in
JANET VAN DE GR
Melbourne, and the rest, as they say,
is history. In Utah and California, Michelle had extensive performing
experience, as a singer, dancer, choreographer and teacher, and in
fact, one of her favourite roles was as Janet van de Graaff in
Utah’s Centerpoint Legacy Theatre’s 2012 production of
The Drowsy Chaperone. Michelle came to see our production
of Mary Poppins earlier this year, and was so impressed that
she immediately decided she wanted to be a part of a CLOC
show, especially performing a role which she so enjoyed the
first time around. We are delighted to introduce Michelle to
CLOC audiences for her Melbourne theatrical debut.

A native Kiwi, Blair’s day job is as an

IT consultant. But his real passion
is dance, which he discovered as
an adult seven years ago and has
pursued since. He has danced with
the legendary Isabelle Ryan and her
Academy of Tap, and with The
Space Dance Studio. He has
performed in tap reviews, promo
Blair Salmon videos, and in 2013 as a featured
ROBERT MARTIN
tapper in ARC’s production of
Singin’ in the Rain. Blair joined CLOC for 42 nd Street last year and
then returned to be part of the ensemble for Legally Blonde, as well as
play the unforgettable cameo role of Kyle, the UPS delivery guy with
the penchant for Irish riverdancing. He then was part of our chimney
sweeping ensemble for Mary Poppins, as well as playing a giant Teddy
Bear (unrecognisable under a gigantic headpiece). With
his fourth CLOC show, Blair has fulfilled a dream –
to perform in a lead role that combines his vocal
and acting talents with his passion for dance
and tap. And, as an extra bonus, he also gets
to rollerskate blindfold as well – lucky him!

9
 The unusually named Kinloch is one of the many Kiwis
who has made the move over the ditch and gravitated
to a CLOC stage soon after they settle in Melbourne.
Kinloch graduated with a Bachelor of Performing Arts
(Music Theatre) from the National Academy of Singing
and Dramatic Art in Christchurch. He then followed this
up with an extensive theatrical repertoire in both New
Zealand and London on both sides of the footlights,
working as a performer in both dramatic and musical roles,
Kinloch Anstiss as well as on the creative side as a director. Since arriving
GEORGE
in Melbourne, Kinloch has worked as an assistant director
for UMMTA (Aida) and Ubermensch Productions (The Wild Party), and was overjoyed to
be offered his first CLOC role in such a prestigiously talented company of performers.
And in case you were wondering, the name is a mixture of Scottish (first name) and Greek
(surname) heritage. With that mixture, being born in New Zealand, having lived in
London, and now Melbourne, Kinloch is a true one-man United Nations!

In 1995, Tim graduated

in Music Theatre from
the highly regarded
Western Australian
Academy of Performing
Arts (WAAPA). As
a performer and
director, Tim then
worked professionally
Tim Minturn all over Australia and his
ALDOLPHO
birthplace New Zealand
in such productions as The Sound of Music, Cinderella,
Disney Live!, The Boy from Oz, Sunset Boulevard, Cats,
Titanic, Godspell and Perform! Educational Musicals.
In 1999, Tim was diagnosed with brain cancer and
thought he would never perform again. Twelve years
later, he returned to the stage at this very theatre in
Quirky Productions’ La Cage Aux Folles, closely followed
by CLOC’s non-professional world premiere production
of The Phantom of the Opera, in which he played opera
manager Monsieur André. This show marks Tim’s return
to both CLOC and the Melbourne stage since his return
from living in Canada for a year, and what a dashing and
memorable role with which to announce his return!

10
 Ric, like his talented wife and co-star Pam,
hails originally from Shepparton and
comes to CLOC with stellar theatrical
credentials, including four Goulburn Valley
Georgy performance awards,
a Bendigo Outstanding
Performance Award and
three Best Actor Music
Theatre Guild nominations.
Ric Birkett After a range of lead roles in
FELDZIEG
Shepparton (including Jean
Valjean-Les Miserables, Anatoly-Chess, The Baker-Into The Woods
appearing opposite Pam, Che-Evita, Judas-Jesus Christ Superstar),
Ric and Pam relocated to Melbourne. They immediately both
appeared in CLOC’s 1999 production of Company, and Ric also
played Emperor Charlemagne in 2003’s Pippin. Between these two
roles, Ric found the time to commute to Bendigo to do an encore
award-winning season as Jean Valjean in Les Miserables. Ric’s legal career
and family duties kept him away from a CLOC stage for many years until
he was lured back to be part of our 100th production last year,
42 nd Street, and to have the opportunity to once more play
opposite wife Pam, as they are now doing
for the eighth time with great delight.
Maree is a graduate of both
the Victorian College of
the Arts and the prestigious
West Australian Academy of
Performing Arts (WAAPA).
Amongst her many theatrical
appearances are several CLOC
shows, including Kiss Me Kate,
Can Can (Celestine),
Maree Barnett Sunday in the Park with George
KIT TY
(Celeste), Company (April) and
The Boy from Oz. Professionally, Maree appeared as a dancer in
the original Cameron Mackintosh production of The Phantom of
the Opera from 1993-1998, and then in 2000, played June in the
Production Company’s Gypsy, directed by Nancye Hayes.
For other companies, Maree has played roles in Cabaret
(Sally Bowles), Chicago (Roxie Hart), A Chorus Line
(Connie), 42 nd Street (Anytime Annie), Blood Brothers
(Mrs Johnstone) and Cats (Demeter).
Maree is delighted to return to
CLOC after an eight year
absence.

11
 T LIST
CAS
Tony Burge .................... Man in Chair
Pam Christie Birkett ...The Drowsy Chaperone
Michelle Hunt .............. Janet van de Graaff
Blair Salmon ................ Robert Martin
Kinloch Anstiss ........... George
Tim Minturn ................ Aldolpho
Ric Birkett .................... Feldzieg
Maree Barnett ............ Kitty
Beryle Frees ................ Mrs Tottendale
Phil Lambert ................ Underling
Zachary Alaimo .......... Gangster 1
Damien Calvert .......... Gangster 2
Julia Duke .................... Trix
Ensemble ...................... Jenna Featherstone
Scott McLeod (Reporter, Superintendant)
Luke McShane (Reporter)
Sophie Wheale

O R C H E S T RA
Tim Verdon ............... Keyboard 1
Jane Sukarsa ............... Keyboard 2
Glenn Taylor ....................... Reed 1
Cara Taber ......................... Reed 2
Malcom Huddle ................. Reed 3
Mathew Chalmers .............. Reed 4
Jonty Smith ................... Trombone
Miles Izzo ........................ Trumpet 1
Sam Parry ....................... Trumpet 2
Shona Taylor ................... Trumpet 3
Will Meeve ............................. Bass
Isaac Bartels ............ Percussion
Bryn Bowen ................ Drums

12
MUSICAL
NUMBERS
The show is set in Man in Chair’s New York
apartment in the immediate past.

Act 1:
Man in Chair’s Apartment
Overture...........................................Orchestra
Tottendale’s Entrance Hall
Fancy Dress......................................Company
Robert’s Room
Cold Feets.........................................Robert, George
Tottendale’s Pool
Show Off...........................................Janet, Company
Entrance Hall..................................Mrs Tottendale, Underling
Janet’s Bridal Suite
As We Stumble Along......................Drowsy Chaperone
I Am Aldolpho..................................Aldolpho, Drowsy Chaperone
Tottendale’s Garden
Accident Waiting to Happen...........Robert, Janet
Tottendale’s Salon
Toledo Surprise.................................Gangsters, Feldzieg, Kitty,
Aldolpho, George, Janet, Robert,
Underling, Mrs Tottendale,
Drowsy Chaperone, Company

Act 2:
Man in Chair’s Apartment

Oriental Palace
Message From a Nightingale...........Kitty, Gangsters, Aldolpho,
Drowsy Chaperone
Courtyard
Bride’s Lament..................................Janet, Company
Entrance Hall
Love is Always Lovely in the End......Mrs. Tottendale,
Underling
Janet’s Bridal Suite
Tottendale’s Garden
Wedding Bells...................................George, Company
I Do, I Do in the Sky........................Trix, Company
As We Stumble Along (Reprise)......Company

13
 Beryle is one of our music theatre veterans,
having an extensive thirty year background in
classical ballet, choirs, opera, revues, straight
theatre and music theatre. Her performance
CV covers most of Melbourne’s leading theatre
companies (Whitehorse-Les Miserables, CLK-
Beggar Woman in Sweeney Todd, Fab
Nobs-Arlene in Baby, SHooSH-Mother in
Kiss of the Spiderwoman, PLOS-Mrs Winthrop
Beryle Frees E in The Secret Garden). Some highlights of note
MRS TOTTENDAL
include her Music Theatre Guild award winning
performance as Fräulein Schneider in PLOS’ Cabaret, her comic
turn as one of the aging strippers Electra in Williamstown’s Gypsy
last year, and her four previous appearances with CLOC – as Lady
Beaconsfield in Jekyll & Hyde (2005), her two Guild nominated
performances as Marion Woolnough in The Boy from Oz (2008),
and the spooky Madame Giry in The Phantom of the Opera
(2013), and most recently, as the haunting Bird Woman in
Mary Poppins earlier this year.

Trained in Queensland under the

tutelage of the late Jean-Pierre
Voos, Phil gained a wealth of
experience, mainly in dramatic
theatre, with roles in such classics
as Private Lives, Waiting for Godot,
Death and the Maiden,
The Caucasian Chalk Circle,
Speaking in Tongues, and several
Phil Lambert Shakespeare productions,
UNDERLING
including Richard III,
Romeo and Juliet and Macbeth. Since moving to
Melbourne, Phil has worked for The Australian
Shakespeare Company (yes, more Shakespeare)
in The Comedy of Errors, The Taming of the Shrew
and Richard III (again). He has also added opera to his
repertoire by appearing with Melbourne City Opera in
Andrea Chenier and Luisa Miller. In musical theatre, some of Phil’s
roles have included three OSMaD productions (Sweeney Todd-
Judge Turpin, The Music Man-Charlie Cowell, The Producers-Mr
Marks), Florenz Ziegfeld (Funny Girl-MDMS) and two previous
CLOC productions (Sunset Boulevard-Max,
The Phantom of the Opera-Buquet).

14
 Zac originally hails from Gippsland, an
area that seems to generate an over-
representation of very talented
musical theatre performers, most of
whom seem to find their way to CLOC
when they reach Melbourne. After
an extensive performance history
for Warragul Theatre Company,
Zach moved to Melbourne to complete
Zachary AlRaim o a Bachelor of Creative Arts (Drama).
GANGSTE 1
Featured roles in Melbourne have included
Archie (13- BuST Co), Edgar/Bat Boy (Bat Boy, PEP Productions), Bobby
Strong (Urinetown, Players Theatre), Henry (Next to Normal, Williamstown), and
Lucas (The Addams Family, OCPAC). Zac was overjoyed to be offered a role in a
show that he loves, working with a company that he has long admired.

Damien is one of the most prolific performers and well

known faces around the Melbourne music theatre scene.
His theatrical CV covers more than 20 companies and
nearly 50 productions over the last 15 years, and some
years, Damien has performed in up to four shows – that
is a very impressive record by anyone’s standards.
Not only that, but Damien’s talents extend to the
other side of the footlights, as he has also worked
as both lighting designer (including for CLOC’s
Damien Calve2rt 2007 production of Shout!) and director. To even
GANGSTER
try and list Damien’s performing credits would
be impossible, but some of his highlights just in the last year include Frederick
Trumper (Chess-Catchment), The Minstrel (Once Upon a Mattress -SLAMS),
and Al (A Chorus Line-Players Theatre Co). For CLOC, Damien has previously
appeared in Blood Brothers (2007), High Society (2009), Man of La Mancha
(2010), Fiddler on the Roof (2011), Aspects of Love (2011), Sunset Boulevard
(2012) and earlier this year, he played Northbrook in Mary Poppins. In 2012,
Damien played George in Fab Nobs’ production of The Drowsy Chaperone,
and he loved the show and experience so much that he was eager to come
back and be a part of another production, this time in a different role.

Julia has had an extensive performing

history with both musical and non-
musical companies based in the
eastern suburbs, including Croydon
Parish Players (eleven productions
onstage, plus another four
backstage), SLAMS, Mountain
District Musical Society, Players
Theatre and Phoenix Theatre Company.
Julia Duke Highlights have included Into the Woods,
TRIX
Hairspray, The Witches of Eastwick and Avenue Q,
where she worked with our Musical Director, Martine Wengrow. Working as a
maths and science teacher at Rowville Secondary College, Julia has directed their
last four consecutive musical productions, including Beauty and the Beast this
year. This is Julia’s first venture with CLOC and she has enjoyed every moment.

15
 Jenna is one of our four new
arrivals to Melbourne from
distant lands – well, if
you count Brisbane as
distant! Jenna has performed
and trained in voice, acting
and dance for over 20
years, starting at age 6
in roles such as Marta von
erstone
Jenna FeathBLE Trapp in The Sound of Music
ENSEM (Savoyards Musical Comedy
Society) and Susan in The Lion, The Witch and the Wardrobe
(Brisbane Arts Theatre). More recent theatrical credits
include Joseph and the Amazing Technicolor Dreamcoat, CLOC production. Having just completed a season with
The Sound of Music (both with Harvest Rain Theatre
Company) and Hairspray (Prima Org). Before leaving the
sunny state, she performed with Savoyards as a Silly Girl in
Beauty and the Beast, and as Grace Farrell in Annie. Jenna is
thrilled to start her Melbourne theatrical ventures working
with CLOC, a company she has long admired from afar.
Scott started out as a
performer with Panorama
Theatre many years
ago, until professional
demands took over, and his
performing life took a back
seat to his corporate and
travel life as a business
Scott McLeoRT d analyst. He did manage to
EN SEM BLE /RE PO ER /
fit in emcee work, voice-
SUPERINTENDANT
overs, singing gigs and
even the odd character performance as a singing chicken!
Along the way, he also managed to study both architecture
and chiropractic – nothing like keeping busy with juggling
several balls in the air simultaneously! After twenty years of
business travel, Scott has finally settled back in Melbourne
permanently, and is looking forward to being able to indulge
his love of performing onstage. The Drowsy Chaperone marks
Scott’s CLOC debut and first foray towards this new goal.
16
Luke has been learning
singing and dance (both
jazz and ballet) for
several years, but has
only recently dipped his toe
into the world of musical
theatre, which provides
a great contrast to his
day job as a nurse. Luke
Luke McShane came to see Mary Poppins
ENSEMBLE/REPORTER earlier this year and came
away full of awe, admiration and a desire to be part of a
Malvern Theatre Company in The Mystery of Edwin Drood
(also directed by Alan Burrows), Luke was overjoyed to be
offered the opportunity to work with CLOC, and have a
chance to ‘show off’ his singing and dancing credentials.
As well as Michelle from
Utah in the USA, we also
have Sophie from Bristol
in the UK, who, like
Michelle, has only recently
arrived in Melbourne,
and also like Michelle,
makes her Melbourne
and CLOC debut with this
Sophie Wheale show. In Bristol, Sophie
ENSEMBLE
was a member of Bristol
Musical Youth Productions for four years, followed by
working with her university’s Musical Theatre group (UCLU
Musical Theatre Society). Sophie took part in a number
of productions, including the lead role of Hedy La Rue in
How to Succeed in Business Without Really Trying. She also
choreographed a much lauded and decorated production
of Hairspray for two schools in London. Sophie is delighted
to have the opportunity to perform with CLOC and also
make new friends who are equally passionate
about musical theatre.
 PRODUCTION TEAM
DIRECTOR: Alan Burrows
MUSICAL DIRECTOR: Martine Wengrow
CHOREOGRAPHER: Di Crough
ASSISTANT DIRECTOR/ASSISTANT CHOREOGRAPHER:
Wendy Belli
PRODUCTION MANAGER: Debbie Osborne
TECHNICAL DIRECTOR: Grant Alley
STAGE MANAGER: Sandra Davies
ASSISTANT TO THE DIRECTOR: Debbie Osborne
SET DESIGNER: Graham McGuffie
SET PAINTING: Graham McGuffie,
Merinda Backway
TECHNICAL DESIGN: Grant Alley
SET CONSTRUCTION: Patsi Boddison
ASSISTED BY: Grant Alley, Joel Berman,
Patsi Boddison, Tina Boddison-Gray,
Michael Devon, David Hobbs,
Malcolm Lutchner, Craig Symons,
Peter Turley, Barry Venning
SOUND DESIGNER: Marcello Lo Ricco
(LSS Productions)
SOUND OPERATOR: Josh Mattielli
RADIO MICROPHONE TECHNICIAN: Dana Samuel
ASSISTED BY: Natalie Coleman
SOUND EQUIPMENT: LSS Productions Pty Ltd
LIGHTING DESIGNER: Keith Tucker
LIGHTING BOARD OPERATOR: David Boddison-Gray
HEAD FOLLOW SPOT: Patsi Boddison
FOLLOW SPOT OPERATORS: Tina Boddison-Gray,
Naomi Boddison-Gray
LIGHTING CREW: Patsi Boddison,
David Boddison-Gray and Linda Hum
of The National Theatre
COSTUME DESIGNER: Victoria Horne
COSTUME CO-ORDINATORS: Melinda Peebles,
Victoria Horne
COSTUME CONSULTANTS: Nancy Matthews,
Carol Humphrey
ASSISTED BY: Allan Paul
COSTUME ASSISTANTS: Amy Dawson, Jacqui Day,
Glennis Eather, Lorna English, Eva Fabian,
Mary Fraser, Scott Hili, Stephanie Kurczycki,
Delwyn Poyser, Beth Sayer, Cheree Sexton,
Liz Stoyanova, Erika Sudarevic, Zoe Thompson,
Isabelle Turnbull
MILLINERY: Tina Scott
ASSISTED BY: Sally Anderson, Laura Dunnington
TAILORING: John & Danielle Carbone
WIG/HAIR DESIGNER: David Wisken
MAKE-UP DESIGNER: Natalie Della Grazia
WIG & MAKE-UP TEAM: Jenny Barratt, Maddie Notley
REHEARSAL PIANISTS: Danny Forward, Jane Sukarsa,
Tim Verdon, Martine Wengrow
STAGE DIRECTOR: Bernard Hedger
ASSISTANT STAGE MANAGER: Gemma Hedger
FLOOR MANAGERS: Paul Belli, Rosemary Curtis
FLY MANAGER: Tony Hall
ASSISTED BY: Robert Griffin
DRESSERS’ CO-ORDINATOR: Melinda Peebles CLOC PATRON
ASSISTED BY: Janet Cameron,
Rebekah McLaughlin, Karen Warrington
PROPS CO-ORDINATOR: Jodie Lawson
ASSISTED BY: Heidi Crook, Emily Daniel,
Karen Greenwood, Karen Warrington
STAGE CREW: Joel Berman, Gordon Bull, CLOC Musical Theatre
is a member of the John-Michael
Craig Dixon, Connor Hadley, David Hobbs, Howson
Music Theatre Guild
Nikki Imberger, Bianca Milewski, of Victoria OAM
Ian Simmonds, David Southall, Craig Symons
THANKS ALSO TO: Michael Bates, Michael Devon, CLOC COMMITTEE MEMBERS
Rohan Fotheringham, Mark Houghton,
Jake Kirby, Matt McLaughlin, Jackie Mates,
Peter Thompson, Neville West
MARKETING CO-ORDINATOR: Sandra Davies
MARKETING TEAM: Craig Dixon, Karen Greenwood,
Jackie Mates, Cameron Osborne,
Jon Sebastian, Trudi Sheppard President Administrator
Cameron Osborne Sandra Davies
WEBMASTER & FACEBOOK: Craig Dixon
PROGRAM: Sandra Davies, Karen Greenwood
PROGRAM GRAPHIC ART/DESIGN: David Clark at
The Wizarts
PHOTOGRAPHY: Ben Fon (Fon Photography)
OPENING NIGHT FOYER PHOTOGRAPHY: Emily McCoy
assisted by Trudi Sheppard
PRINTING: Fineline Printing Secretary Treasurer
Barry Venning Grant Alley
ADMIN SUPPORT: Janet Cameron,
Karen Greenwood, Debbie Osborne
TICKET SALES: Carol Humphrey, Cheryle Osborne
FRONT OF HOUSE CO-ORDINATOR: Meryl Withers
BOX OFFICE MANAGERS: Grant Alley, Barry Venning
ASSISTED BY: Carol Humphrey, Cheryle Osborne
DUTY MANAGERS: Geoff Kavanagh, Barry Rickard,
Jan Sheppard, Meryl Withers, Peter Witney Committee Committee
Patsi Boddison Janet Cameron
CATERING: Paul Belli, Tony Hall, Kelly Hall
FIRST AID: Ian Simmonds
ACKNOWLEDGEMENTS:
Assistant to the Treasurer-Mike Strahan
All friends of CLOC who work Front of House
The staff of The National Theatre
Frank Simcox for Audio-Visual Services Committee Committee
Carol Humphrey Debbie Osborne
Colin Robinson
Ian Armstrong OAM, The Armstrong Collection
Sarah Lawson
Nathan Firmin - keyboard programming
and studio Overture production
Tim Smith - vocal coaching and
Committee Committee
studio Overture production Melinda Peebles Jon Sebastian
CLOC Musical Theatre
PO Box 3250
Mentone East Vic 3194
Ticket Enquiries: 1300 362 547
Web: www.cloc.org.au
Email: info@cloc.org.au
17
 The Drowsy Chaperone
BACKGROUND
The Drowsy Chaperone was a Canadian creation by a group
of friends who were all actors/musicians/comedians/improv
performers. The group got together in 1997 to create a
spoof of old musicals for the bachelor party of their friends,
Bob Martin and Janet van de Graaf, who were shortly to
be married, and who lent their names (with slightly altered
spelling) to the romantic couple at the heart of the ‘musical
within a musical’. Music and lyrics were by Lisa Lambert and
Greg Morrison, the book was by Don McKellar, all well-
known Canadian performers, and then the
groom Bob Martin became a co-writer,
adding the character of Man in Chair to
serve as narrator/commentator for
the piece.
18
The show originated in 1999 at the Toronto Fringe Festival,
then became a local success in Canada, which led to a try-out
in Los Angeles in 2005, followed by a Broadway opening on
May 1, 2006.
Bob Martin ended up not only writing the character of Man
in Chair, but also originating the role, performing it in both
New York and London, where he was nominated for a Tony
award, a Drama Desk award and an Olivier award. The show
itself was nominated for thirteen Tony awards in 2006 and
won five for Book, Original Score, Featured Actress (Beth
Leavel-The Drowsy Chaperone), Costume Design and
Scenic Design.
In 2010, the Melbourne Theatre Company staged a highly
successful season of The Drowsy Chaperone starring Geoffrey
Rush as Man in Chair, and featuring Christie Whelan, Robyn
Nevin, Shane Jacobson, Richard Piper, Adam Murphy and
Rhonda Burchmore as The Drowsy Chaperone.
There is a long-standing rumoured film being made of
The Drowsy Chaperone which will have a distinctly Australian
flavour, as it will be directed by Fred Schepisi, reportedly with
Geoffrey Rush reprising his role as Man in Chair (as well as
producing the movie) and with Hugh Jackman apparently
also involved as Aldolpho (now that would be something to
see). Other names swirling around the project include Anne
Hathaway and Barbra Streisand. Stay
tuned for more details.
 The Drowsy Chaperone
SYNOPSIS
The show commences with a lone character onstage - a
present-day musical theatre fanatic, known simply as Man in
Chair, who sits alone in his apartment, talking directly with
the audience about his all-time favourite Broadway musical
– “The Drowsy Chaperone.” As he begins listening to the rare
cast recording on his LP record player, this 1928 fictional
show bursts into life in his living room with a parade of larger-
than-life characters. There’s pampered Broadway starlet,
Janet Van De Graaff, who wants to marry the debonair
Robert Martin and give up her stage career. Along for the
ride are an overzealous producer who sets out to sabotage
the nuptials, a dizzy chorine, the best man, the Latin lover,
a couple of bumbling gangsters who double as pastry chefs
(who knows or cares why?), a tottery rich hostess, her loyal
manservant, an aviatrix and the eponymous drowsy (aka
drunk) chaperone, whose job it is to keep Janet away from
Robert until the wedding.
Man in Chair provides a running commentary throughout
the show, including witty asides about the actors who played
the various roles in the original production. To explain
the convoluted and hilarious plotline would give too
much away, so let’s just say there are elements of
the sublime and surreal including
blindfolded rollerskating,
French kissing, mistaken identity, Latin seduction, mind-
reading, scenes from the Orient, and a full size aeroplane, all
capped off by FOUR weddings and everyone living happily
ever after – in the show within a show, that is.
As the onstage recording reaches its final note,
the power in the apartment goes out and both
Man in Chair and the audience are plunged
into silence and darkness. Man in Chair, still
alone in his apartment, is inconsolable,
until the cast of The Drowsy Chaperone
return to the stage in his imagination
and his living room to blissfully
transport him once
again to the magical
world of musical
comedy heaven.
19
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 THE WONDER OF YOU DANCING QUEEN
SUGAR SUGAR HELP ME RHONDA
I WRITE THE SONGS SHE’S ALWAYS A
WOMAN BEST OF MY LOVE YOU’RE SO
VAIN THEN HE KISSED ME BABY DON’T
GET HOOKED ON ME THE NIGHT HAS A
THOUSAND EYES THAT’LL BE THE DAY
PLEASE MR POSTMAN HAVE YOU EVER
SEEN THE RAIN THE SOUND OF SILENCE
ONE LAST KISS THE LEGEND OF XANADU
I JUST DON’T KNOW WHAT TO DO
WITH MYSELF RUNAWAY RUNAROUND
SUE I SAY A LITTLE PRAYER SPICKS
AND SPECKS UNDER THE BOARDWALK
ALL MY LOVING YOU DON’T HAVE TO
SAY YOU LOVE ME CANDLE IN THE
WIND LET IT BE ME BY THE TIME I
GET TO PHOENIX CHAPEL OF LOVE

DIGITAL RADIO – 1278 AM – ONLINE – MOBILE

22

3A1031 Magic ad lyrics A4.indd 1 25/03/15 2:17 PM

 CLOC MUSICAL THEATRE’S
Production of

Music and Lyrics by Book by

Stephen Schwartz Winnie Holzman

Based on the novel by

Gregory Maguire
Orchestrations by William David Brohn
Music Arrangements by Alex Lacamoire & Stephen Oremus

MAY 6 - 21, 2016

The National Theatre, St. Kilda
Book online at www.cloc.org.au
Booking Enquires 1300 362 547
Ticket Sales open Monday February 22, 2016
By arrangement with Hal Leonard Australia Pty Ltd exclusive agent for Music Theatre International (NY)
23

2:17 PM