Category Archives: Suzy’s 5 Questions

5 Questions with Gary Clementson and Clare Hennessy

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Gary Clementson

Clare Hennessy: What’s the most enjoyable aspect of playing Parker?
Gary Clementson: Parker has it all going on. Great job, nice car, beach side apartment, life is running very smoothly. Until a young journalist, Mia, shows up and bursts his bubble. Parker is so enjoyable to play, because he is a man who is having his foundations rocked to the core, while exchanging banter over a tasty Sunday juice.

Parker is in Public Relations. What do you think the key to being good at PR is?
To be successful in the Public Relations realm I think you need to be a pretty good spin doctor with the truth. Parker is a pretty smooth talker, but I think Clare Hennessy says it best in the play:

MIA: Isn’t apologising your job?
PARKER: Not really. Public relations is about pretending everything’s fine.

Make up a name for a brand new flavour of juice! Go!
Errr… BeetSting. Beetroot, honey, apple, ginger. Add gin to suit.

What’s guaranteed to make your co-star Contessa laugh?
Hahahah! I spend half of my rehearsal time trying to make Contessa laugh on stage. We studied together at drama school, so I know a few buttons to push, but mostly she just laughs at me trying not to laugh. It’s a vicious cycle.

If you could give Parker one piece of advice, what would it be?
Parker, mate, you need to really think about the things you say before you say them. Sometimes we might just regurgitate things we have heard without actually taking into account what they really mean and how they effect other people.

Clare Hennessy

Gary Clementson: As this is a response piece to The Village Bike, what correlations did you make between the pieces?
Clare Hennessy: I’m really interested in putting exciting genres on stage, so as soon as I read The Village Bike I thought it was the perfect opportunity to explore the genre of “sexy drama”… (that’s a genre, look it up). In all seriousness, The Village Bike asks some incredibly interesting questions about sexual politics, so I leapt at the opportunity to explore that conversation from a different vantage point.

The character of Mia is a journalist, writer, and sharp as a whip. Who has inspired this powerful character?
Luckily for me, I know so many ladies who are smart, driven and passionate as hell. The character’s not based on anyone in particular, but it’s definitely a hark to the strong and outspoken female writers who are blazing trails at the moment. I was particularly interested in writing this kind of character because I wanted to explore how accepting a position as an activist and writer is potentially a lonely place to be, especially as a woman. We need these kinds of writers, but is it possible to do so without compromising other things?

Important question. You’re ordering dumplings, what do you get?
Great question, Gary! I get fried AND steamed pork and chive… but most importantly, I get eggplant dumplings.

The New Fitz program is running incredibly well. Do you find it challenging to write to a shorter running time?
I actually love writing to a short running time; I like pushing the audience in the deep end and asking them to play catch up. There are certainly challenges, especially when you want to create a world that’s rich and complex without being too complicated, but when it goes well it’s such a short and sweet treat for the audience.

What research did you do to explore the issue of sexual harassment in the work place covered in Tongue Tied?
Unfortunately, there’s a lot to draw from. There’s a heap of really important activism/journalism happening in universities and other institutions at the moment, cases that I’m constantly following. I’m hoping that some genuine change comes out of the efforts of these legends. I’ve also been diving into the legal end of sexual harassment, and there are some alarming blind spots in the legislation that contribute to the conditions in which sexual assaults slip through the cracks. It’s made me realise how important it is to hold institutions accountable, and if institutions can’t then we need to find other ways to aid women and men with the knowledge they need to protect themselves.

Gary Clementson is in Clare Hennessy’s Tongue Tied.
Dates: 27 June – 8 July, 2017
Venue: Old Fitz Theatre

5 Questions with Jasper Lee Lindsay and Nicholas Sinclair

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Jasper Lee Lindsay

Nicholas Sinclair: What has been the hardest part of this role?
Jasper Lee Lindsay: I was really worried at first when I thought about the ‘social commentary’ aspect of the play, especially as it’s all very relevant in today’s society and I didn’t want to be the one to take a wrong turn and make people feel sour after the play. But atmosphere of the whole production is filled with such heart and care that I was able to settle in to the play and let go of the worry.

What are the similarities and differences between you and your character?
There are quite a few similarities, but the one I like the most is that we both like to think we’re the wittiest guy in the room, which is funny because Reid actually says his witty things out loud while I just sorta whisper them to myself and pat myself on the back for being so darn clever.

What is the best advice you have been given in regards to acting?
Best advice: “Listen”. I know it’s kind of a boring answer, but it’s how I keep myself happy in performance. Receiving what an actor is giving me in a scene and responding to it in the moment, whilst keeping it all in balance with all the technical work, is great for keeping me active and connected on stage.

What is your dream role?
Every role. *pats self on back*

Why do you think this play is relevant in today’s society?
I think this play is very much about the modern context and how things that used to be considered “taboo” are having more light shone on them today. Nothing is really off-limits to talk about anymore and whether it’s for better or worse, it might just be necessary.

Nicholas Sinclair

Jasper Lee Lindsay: How has it been taking on the role of someone struggling with gender identity?
Nicholas Sinclair: I’m not going to lie, it has been a challenge. As someone who has been lucky enough to have a very easy life in regards to coming out and accepting my sexuality, it was difficult to put myself in the shoes of someone who doesn’t have that same luxury. I feel the hardest part of this character is not making every choice or decision simple or easy to answer.

How does the Post family compare to your real family?
They are completely different! My grandparents aren’t racists and homophobes but like all families we do have our fights just like the Post family. We are really supportive of each other! I think the biggest similarity is that we love Chinese food.

Has playing a teenager brought back any painfully embarrassing memories from your high school days?
Oh god… I guess? I feel I look better in a school uniform now than when I actually went to school. I remember one day when someone put a stink bomb in my bag at lunch time, that was pretty awful. I think my mind may have blocked any embarrassing moments because I’m really struggling to think of some right now.

This play is kind of a roller-coaster of emotions. How do you think the audience will feel at the end of the play?
I hope that they feel the same freedom that we as the characters feel. I want people to walk away with questions and excitement!

What’s your favourite use of the word ‘bitch’?
I think my favourite would have to be: “Whatever, bitch.” Mainly for when someone is trying to prove you wrong and you don’t have time for them anymore… and you also know that you’re wrong.

Jasper Lee Lindsay and Nicholas Sinclair can be seen in Bitch by Wayne Tunks.
Dates: 31 May – 17 June, 2017
Venue: The Depot Theatre

5 Questions with Rosane McNamara and Keila Terencio

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Rosane McNamara

Keila Terencio: Which is your favourite joke?
Rosane McNamara: As noted in the play, the best jokes are dirty ones! My favourite joke is so dirty that I couldn’t possibly write it here but, if you run into me at the theatre, I’m very happy to tell it to you 😊

Which English word do you least like saying? And why?
“Can’t”. I’ve always been a “glass half full” person and, even in the saddest of times, I like to focus on what can be done. It sounds a bit twee but life really is about possibilities.

Which was the first theatre production you were involved in?
Can I remember that far back? My first role was in primary school. I was the Queen in Blackbird Pie and I had one line: “Bring him his majesty’s dinner”. I got the role because I had the loudest voice. No surprises there! My first professional role was in Cinderella – as one of the ugly step sisters. No comments thank you!

What sort of person is going to love The Clean House?
People who can laugh in the face of the absurdity and messiness of life. Hopefully that’s all of us. Life, love and death are rarely as “clean” as we’d like them to be so learn to love the mess.

What’s your favourite line in this Sarah Ruhl text?
“This is how I imagine my parents”. This line leads us into the play’s world of magic realism in which Matilde continues her relationship with her late parents. Theatre is a place for the imagination to roam and I love all the “other worldly” aspects of The Clean House e.g when it snows in the living room or when apples fall from the sky.

Keila Terencio

Rosane McNamara: What is the biggest challenge for you in this play?
Keila Terencio: There are so many challenges in this play for me, but one of them is what has given me trouble for the last few years: the language! Even after 5 years learning English, there is still a struggle and effort to pronounce many words. Even though I am playing a character that has an accent (thank god! ), in the show I can’t rely on my “hands talking” as I do in the day-by-day conversations. So yes, English is (still) the challenge.

What is your favourite moment in the play?
Yesterday my favourite moment was the “telenovela” scene. The day before it was the part that Maltide and Virginia talks about underwear. Last week my favourite was the “perfect joke’ and “apples” part. Every time I leave the rehearsal room, I have a new favourite moment, and as we explore the play further I love it more and more!

Your character, Matilde, is Brazilian and so are you. Are there other similarities between you and her?
Yes many, but apart from the language, these similarities are not related to our nationality. Matilde is a young lady with big dreams and a positive attitude to life, I am connected to her in this way. However, I believe, she could be from anywhere in the world. I am sure every country has their own Matildes.

You have done a lot of aerial and acrobatic dancing. Is this still part of your work or are you now more interested in acting?
For me, both acting and aerial dance are part of the performing arts mix in my life. I train aerials in an exploration of different ways to tell stories, and acting is an essential part of that.

Matilde makes up jokes. What type of jokes do you like?
My family is from the country in Brazil, so I grew up listening to jokes of country people, most of them involves animals, accents or just making fun of the way people on the farms live. I love these kinds of jokes because they are close to me, they are connected to people that I know. Back home we love making fun of each other, we always give funny nicknames to our friends and we love making people embarrassed in front of others – I know it sounds terrible, but believe me, in the cultural context it is quite funny, we are very easy-going people haha! Just to think about it makes me start laughing!

Rosane McNamara is directing Keila Terencio in The Clean House by Sarah Ruhl.
Dates: 6 June – 8 July, 2017
Venue: New Theatre

5 Questions with Ben Hall and Hayden Tee

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Ben Hall

Hayden Tee: Why does everyone call you Annie?
Ben Hall: Annie is a nickname given to me by Simon Burke who I worked with on Devil’s Playground. It’s a reference to the Woody Allen film Annie Hall; Simon has given quite a few people nicknames, isn’t yours “Maggie T” Hayden, as in Maggie Tabra?

Annie, describe yourself in three adjectives and tell us why?
Hmm, considered – I think about most decisions a lot, perhaps too much. I like to analyse things and find the best way of doing something. Self-deprecating – it isn’t always a useful quality but it helps to push me forward at times too and hopefully keeps me humble when things are going well. Placable – I don’t hold grudges I tend to be non-confrontational and laid back, I just like to get on with it.

Annie, in what ways are you similar to Tim, the character you play in Only Heaven Knows?
Funnily enough I think those adjectives above could be used to describe both of us, perhaps that’s why they came to mind. I also think that we are both willing to just go and throw ourselves in the deep end and see if we sink or swim. And I think we are similar in the way that we learn the most from the people that we are closest to and take on their qualities. Tim always wants to learn and he likes change and I think that’s what I love about the character.

Annie, you work regularly in all mediums, theatre, TV and film. Which is your favourite and why?
I love each medium in different ways, so far one hasn’t captured me more than the other. In theatre I love the collaboration, the research and the time you have to find real depth in a character (I think you learn more here because you can read the audiences response instantaneously too). In TV, I really enjoy exploring the technicalities and the stillness and specificity you can bring on such a minute scale when you’re in so close. I’m yet to do a feature length film but what I love about film is the attention to detail and the reality of it – you’re given the time and trust to live in the moment as truthfully as possible.

Annie, since I first started working with you on Les Miserables I have been saying “Ben Hall is the next Hugh Jackman” now I know you will actually be the first Ben Hall which is even more exciting. How does Ben Hall see himself making his mark?
Thanks Hayden! I suppose my end goal is similar to yours in the way that I’d just like to keep working on shows that affect people and make them more empathetic because from there real change can be made. To do that I think I’d need to create more and more realistic and believable characters that speak to more people – basically just keep on learning and getting better at what we do whilst still being a decent human being. It’s fairly low key really. 🙂

Hayden Tee

Ben Hall: Hayden, what is the role you’ve enjoyed the most in your career and why?
To be honest I’m happy as long as I am working and I have enjoyed them all for completely different reasons. Right now, playing Lana in Only Heaven Knows is my favourite. After 3 years of playing Javert in Les Miserables it is really refreshing and liberating to inhabit such a fun and light character, someone who’s first instinct is to resort to humour. He is also the closest I have ever been to playing myself including my first New Zealand accented role which I am very much enjoying.

Has this show changed you in some way? If so how/why?
This show has an incredibly important message. It is about the long march toward equality and that is something I am very passionate about. When there are concentration camps for homosexuals in Chechnya and countries where homosexuality is illegal and here in Australia still no marriage equality – I feel this play is saying something that needs to be said, although the play has not changed my view on these issues it has made me feel as if I am now a part of the conversation and I am honoured to be able to make people think after seeing this important play.

What is your ultimate goal in this industry i.e. When you’re 95 what do you hope to have achieved?
My goal is always to work and always has been. I would like to get to the end and still be doing what I love, I’ve always said i want to die on stage having never retired. Let’s hope it’s not at the Hayes in heels however.

What is your best theatre story?
BERTIE THE COCKROACH.
That time a cockroach crawled out of my toupee onto my face. During a scene. On stage. Apparently from the audience it looked like I was having a stroke. I have now added 3 cockroach checking seconds to my quick change.

What is your favourite moment in the show and why?
The nudity of course! I only wish I could see it instead of frantically changing gender backstage.

Ben Hall and Hayden Tee can be seen in Only Heaven Knows by Alex Harding.
Dates: 26 May – 1 July, 2017
Venue: Hayes Theatre

5 Questions with Sapna Bhavnani and Faezeh Jalali

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Sapna Bhavnani

Faezeh Jalali: If you were a book which one would you be and why?
Sapna Bhavnani: A few years ago my god daughter handed me a book and said “look Sapna, this is you.” On the cover was an illustration of an inked woman and her 2 daughters. The book was The Illustrated Mum by Jacqueline Wilson. I read that book in half an hour and cried through most of it. More than the mom, I related to the stories of the daughters. And as cliché as it sounds, being an inked woman myself, I cannot think of another book I would rather be. And maybe, just maybe, because I haven’t read any other book since Nancy Drew and Famous Five. Don’t you judge me!

What gives you great joy and what is your greatest frustration?
Yoga. In my recent years of practice, I have started journeying inwards more that outwards. It’s one of the most challenging things I have ever done. The process of being true to yourself at every moment and working towards the ability to witness joy and pain equally, with the same level of non-enthusiasm is my new high. The process of stepping out of my body and witnessing myself as a third party in the room is my new theatre.

You created the character of the old woman in the play Jatinga. What inspired you to write her and what about you is similar to the old woman?
We are all born old. We carry with us stories and burdens from previous lives. We carry guilt and shame from current lives. We carry ambitions and hopes to the future lives. And the circle continues. Age does not have a gender or an age. So yes, Sapna is similar to the old woman. But so is Faezeh, and Suzanne, and every member of the cast regardless of the burden of gender or nationality.

How many tattoos do you have? Tell the story of one of them.
Only an amateur counts the number of drinks consumed. I am an alcoholic.

Sapna means dream- what is/are yours? (I’ll make this hard by asking you to describe it as a fairytale)
I’m constantly in a lucid dream space. I have 7 imaginary friends, all called Alice and 5 mannequins also all called Alice. It’s the way I call their names that distinguishes one Alice from the other. We all live happily ever after in a one-bedroom apartment in Bandra, Bombay with 3 cats and 45 plants. Our most favourite thing to do is take a road trip to our farmhouse 3 hours outside Bomaby to visit the 3 other Alice’s that live there with 4 cats and 89 trees and a gazillion flowers. As you can see it’s an ongoing fairytale and keeps on getting more magical with each passing moment or should I say with each passing Alice.

Faezeh Jalali

Sapna Bhavnani: What keeps you ticking in the theatre world after so many years?
Faezeh Jalali: Experimentation and the desire to take risks and tell stories that are important to me. I won’t take on a play that doesn’t excite me because I won’t be able to create it truthfully. I enjoy the creative process and making theatre that pushes boundaries comfort zones, physical and intellectual limits. Theatre that is socio-political, that is relevant to our current times. I wouldn’t be happy doing living room dramas and probably would do a shoddy job of those.

How did you prepare for Manda?
I think the process is organic. I think the character is in the writing and in the work done with other actors right from the first development/audition. For me the character comes alive on the floor in the body, not from writing notes or thinking too deeply about it. The playwright gives you the most information and I take that and fly…

What is the next project seeding in that wonderful brain of yours?
Several. I’m writing a new play, I guess you could say some sort of a musical satire about religion, godmen/godwomen/religious heads. I want to do one physical piece based on Mumbai life. I have written small sections of action but would need to string those together. I want it to be a circus piece actually. And a couple of others, that other writers will write or have written.

If there is another profession you could be in, what would that be?
As a teenager I wanted to take revenge on my dentist so I did take pre-medical with theatre, in undergrad. But then I imagined myself doing that and it bored me. So it didn’t work out. There was a phase when I thought I’d be a physicist. That fizzled out. Currently I think some sort of chef.

Are you sure you’re not Kashmiri?
No, I’m sure I’m not Kashmiri or should I say yes I’m sure I’m not Kashmiri. I’m a citizen of the planet (she said cheesily).

Sapna Bhavnani and Faezeh Jalali can be seen in Jatinga by Purva Naresh.
Dates: 9 – 24 June, 2017
Venue: Kings Cross Theatre

5 Questions with Kate Bookallil and Rupert Reid

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Kate Bookallil

Rupert Reid: What attracted you to the role of Alice and the play originally?
Kate Bookallil: I really admire Alice’s stillness and dignity. I don’t want to give too much away, but Alice is surprising and I love her because she knows who she is and has a lot of self respect.

I was attracted to the play because it makes me laugh at, question, contemplate, challenge, bask and despair in all that makes us fallible human beings. The writing is witty and direct, playful and confronting. Penelope Skinner has written a play with women at the centre, but it is also a play about men and society at large and how we will choose to move forward.

In what ways do you relate to your character and differ?
There are many parts of Alice’s story that align closely with my life. Of course, there are many differences too. In terms of character, I would say that I am envious of an aloof quality that Alice possesses that I have never been able to achieve, no matter how hard I have tried. I am all open book and Alice is far more contained than I am!

Why does Oliver describe Alice as “not unstable… sensitive”
Alice would not want to be described in such a way and does not see herself like that… I think that’s a question for Oliver! Alice is trying to conceive a child, so she’s under a certain amount of pressure… let the audience decide why Oliver would describe his wife in that way!

What kind of experience do you think will people have watching The Village Bike?
I think The Village Bike will be a great conversation starter. Hopefully it will encourage the audience to step up and decide if we are happy with the place of women in our society and if not, what are we going to do about it? I have three children and I can’t help think about them and the digital world they will become teenagers in and my role in helping them navigate their way through the matrix. Hopefully the audience will enjoy themselves too, as it is a really funny play! Come in a big crowd and see where the discussion leads afterwards!

Have you ever combined apple with peanut butter? If not, are you serious!? Why not??
Of course! I love apple and peanut butter together. I also love peach and feta. Vegemite and cheese. Lemon and sugar. Gin and tonic.

Rupert Reid

Kate Bookallil: What attracted you to the role of Oliver and the play originally?
Rupert Reid: His sense of fun and disregard for social norms which are both important thematically to The Village Bike. Oliver is a fascinating exploration of how subtle (and not so subtle) language we take for granted can be used to manipulate and control. What attracted me to the play was the ease and economy of the writing. Ms Skinner has asked us to challenge our preconceived notions of womanhood, motherhood, manhood and sexuality in one fell swoop while maintaining darkly comedic tone that intensifies to the last moment of the play.

What does the bike mean to Oliver?
Sex

Do you have a favourite line in the play and if so, why?
John’s line ‘Let’s put these bitches away’. (or something close to that). It’s just so wrong. Brilliantly out of left field in the moment it’s said and both hilarious and shocking in the same breath.

What does a perfect day off look like for Rupert?
Run, swim and about 4 hours of guitar playing.

Who should come and see The Village Bike?
Everyone. Except my parents. It’s a bit raunchy.

Kate Bookallil and Rupert Reid can be seen in The Village Bike by Penelope Skinner.
Dates: 7 June – 8 July, 2017
Venue: Old Fitz Theatre

5 Questions with Thomas Campbell and Jane Phegan

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Thomas Campbell


Jane Phegan: What attracts you to Enda Walsh’s writing? Misterman is the second play of his that you have performed.
I love Enda Walsh’s plays and characters because I pick up a script of his and have no idea where to start and that excites me. There’s a consistent theme through most of his plays where his characters are searching for love so there’s a deep truth to them. Added to that, he uses extraordinary language and word play so it’s a delight and a challenge to speak his words. He’s effing brilliant.

Why do you want to take this work or work in general to the Edinburgh stage?
Edinburgh Fringe has always been a bit of a bucket list thing for me but it’s a very expensive exercise so seemed like a bit of an impossibility. When we took Misterman to Hobart last year and had a mini tour experience, Hartley, our lighting designer, suggested we look at going to Edinburgh so we started to put the wheels in motion. Also, Misterman is just a great showy piece for all of us and then I thought I should take my comedy piece, One Hander, as well. Why not?

What inspired you to write and perform One Hander?
I was living in London, having my UK ‘experience’, pretty depressed and artistically deprived. I’ve always had these stories about people’s reactions to my hand, or lack thereof, which have been great dinner party fodder. So at about 3am one morning, after my 10th episode of Real Housewives of Beverly Hills, I decided to get off my arse and face a fear and do a stand up comedy open mic night. I started writing, did the open mic night, and a month later I did a full hour show at the Battersea Barge in London. That’s where it began.

Like myself, you have worked with Kate Gaul several times – what keeps you coming back for more?
Kate Gaul is a genius. She’s unbelievably hard working and has such rigour to her work. She’s constantly asking questions of herself and her creatives right up until the show closes. She always asks ‘what is the story we are telling?’ which seems like basic question but it’s the most important and tends to get forgotten in a lot of productions I see. She’s also not afraid to be ‘direct’ as opposed to ‘polite’ in a rehearsal room which I respond well to and believe it’s a short cut to the best work.

What’s your favourite musical?
I love musicals but my favourite changes daily depending on the mood I’m in. Today it’s probably my old favourite, Into The Woods, because I remember getting a VHS copy of the OBC production with Bernadette Peters, when I was about 13 and watching it 4 times back to back in the one day. It was the first musical I saw that showed they didn’t have to just be frothy and shiny but could have cracking acting as well. I’m also a little bit obsessed with Dear Evan Hansen at the moment- I have a dodgy bootleg copy- but I’m yet to work out if it’s just Ben Platt’s performance that is the extraordinary thing or the show or both.

Jane Phegan


Thomas Campbell: Tell me about the play and your role?
It is a beautiful piece by Noelle Janaczewska that takes the audience on a wild adventure down the Amazon, a long dreamed of destination, and through the history of that part of the world. At the same time the character is coming to terms with her father’s illness and exploring their relationship which centres around a shared love of literature. They are both venturing into other worlds and the unknown. It is in turn a poetic, funny and, as Ben Neutze described, “ultimately heartbreaking piece of theatre”.

What’s it been like to revisit a role for the second time?
I am just beginning to revisit the role and Noelle has made some minor edits – that is one of the brilliant aspects of being able to do a piece more than once – the ability to refine and go further. I hope to do the same with the performance! I’m looking forward to going back into the world of the show and finding new gems with a sense of knowing.

Are you nervous about taking your work to the Edinburgh Fringe Festival?
Of course!! What a loony thing to do! It’s bad enough taking to the stage on your own in Sydney let alone in front of an international audience. But that is what we do, is it not? Move toward that which scares us the most. Now I’m really nervous – thanks Tom!

What’s Kate Gaul like as a director?
I have worked with Kate a number of times now and that is because I trust her 100%.That trust extends to both the bigger picture and also my performance. Because of that I can push the boundaries of what I think is possible (and be pushed!) and know that she will never let me (or her) look foolish or the show be under par. She is imaginative, forthright, assured, switched on and fun. I admire her drive and Kate is such an intelligent director, in tune with the work and only taking on what she is truly inspired to bring to life.

How are you travelling with a group of misfits like myself?
Actually travelling? By plane. Maybe a train here and there. And I hope we can walk to the venue! How am “dealing” with the group of misfits? I am one! We’re going to have a ball and we get to showcase some Australian work on the international stage. Super excited.

Tom Campbell and Jane Phegan are in Siren Theatre Company’s Edinburgh Program season of Misterman, Good With Maps and One Hander.
Dates: 14 – 18 June, 2017
Venue: Belvoir St Theatre

5 Questions with Damien Bermingham and Glaston Toft

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Damien Bermingham

Glaston Toft: Tell us about your character, Tony, in The Bodyguard?
Damien Bermingham: Tony is the loyal, well meaning bodyguard who has all the best intentions without necessarily all the skills required for such a big job as dealing with a crazed stalker.

Do you have a dressing room or other performance ritual?
My character doesn’t get to sing which is a new experience for me in a musical and even though at times it feels like more of a play than a musical for my character I still stick to my routine of doing a very thorough vocal warm up. Doing gentle vocal exercises in a steaming hot shower work best to get my voice warmed up.

What do you do in your downtime during the show?
I moonlight as an independent theatre producer so spend a lot of my downtime working on various theatrical endeavours.

What’s your favourite Whitney Houston song and why? Do you sing along while you’re off stage?
‘Run To You’ is my favourite Whitney song but I’ve had the Bodyguard soundtrack since 1993 so it’s fair to say I’m a fan of all of her work. I never realised until rehearsals started just how many Whitney songs I know all the words to. You can’t help but sing along.

What’s your dream role in musical theatre?
My bucket list of musical theatre roles would be Sweeney Todd or Don Quixote. If no one offers me those roles before I die I might just have to produce the shows myself to make sure it happens 😉

Glaston Toft

Damien Bermingham: Who is Glaston Toft and where did that unusual name come from?
Glaston Toft: I’m an actor currently performing in the musical The Bodyguard. I’m often told how unusual my name is. I think my parents were fans of the boardgame Scrabble. You should see what they came up with for my siblings!

Is it strange being cast in a musical and playing an acting role, not actually singing?
Certainly the rehearsal process was strange, having no time with the music department. But now that we’re up and running it’s not that different. I think in most musicals I’ve spent my time acting through song and text. I’m just doing it all in the latter category at the moment.

What’s it like hearing all those Whitney Houston songs night after night?
Paulini is a machine and a superstar… so listening to her breathe life into those great songs is a real treat. They are infectious songs, you can’t not lip syncing to them every night. The finale goes off!

How do you decorate your dressing room?
I don’t really decorate my dressing room as such. I do like to keep some mementos. Currently my door is pinned with notes from a fellow cast member reminding me that as an FBI agent I fail to do my job every night. It’s my motivation to keep looking!

What’s your dream role in musical theatre?
I find most people’s ‘dream roles’ are what they would be perfectly suited for. I’d love to play Judd Fry (Oklahoma), Bill Sykes (Oliver) or Sweeney Todd. I know the type of roles I’m suited to but I find it interesting to perform roles that are a bit against my ‘type’.

Damien Bermingham and Glaston Toft are appearing in The Bodyguard, the musical.
Dates: 21 Apr – 2 Jul, 2017
Venue: Sydney Lyric Theatre

5 Questions with Mathew Costin and Joseph JU Taylor

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Mathew Costin

Joseph JU Taylor: How does knowing that these characters are real people and that their own words form the dialogue change how you approach the characters?
Mathew Costin: It has meant that you really have to find ways to make the overall story work through a much more limited range of behaviours – to find a balance between communicating the message of the play and living truthfully in their shoes

What has been the biggest challenge in rehearsal?
Making the characters dynamic and compelling.

Has the process of developing Talking To Terrorists changed your perception of what terrorism is?
Yes, in that no matter where these ‘terrorists’ come from, we could swap them around, change only the names of places and people – and the stories would still be believable.

Were you surprised at all by any sense of recognising aspects of yourself in characters that have a violent history?
The answer to this question is more about recognising that our ‘passive’ actions as a member of a society that supports unjust treatment of powerless people – makes us all terrorists. They don’t all have a gun or a bomb in their hand. Sadly, as Australian’s, we share a violent history already, even in this generation.

What do you hope an audience will come away from after watching this play?
I hope the audience has a desire to experiment in really engaging with the people they used to fear, judge or dismiss.

Joseph JU Taylor

Mathew Costin: How does knowing that these stories are real people and that their own words form the dialogue change how you approach the characters?
Joseph JU Taylor: You always try and find some personal truth in the lines of dialogue of any script but knowing that the characters in Talking To Terrorists are real people and that the playwright has constructed the story using the words of these people gives an additional layer of responsibility. It’s an enormous honour to be given the opportunity to breath life into the words of this play – it’s also a great challenge!

You’re playing five different roles, is there a specific character you are most drawn too?
That questions a little like asking a parent to choose their favourite child! No, it’s impossible to pick a favourite, I am just so pleased to give voice and body to them.

Has the process of developing Talking To Terrorists changed your perception of what terrorism is?
It certainly has. It is so easy to see things in black and white, especially against the onslaught of the 24 hour news cycle. We are given a very specific narrative for world events and one that still paints the sides as largely “good” versus “bad”. This play gives voice to those that have been led into the world of terrorism as well as those that are the victims. It also highlights the political nature of information manipulation. Talking To Terrorists was written over ten years ago but the stories resonate strongly in 2017.

Were you surprised at all by any sense of recognising aspects of yourself in characters that have a violent history?
Yes, and that is very much the point. There is a line in the play that encapsulates how much circumstance drives action: “The difference between a terrorist and the rest of us really isn’t that great”. Anyone has the potential to do terrible acts and it is a great folly to assume immunity to fault.

What do you hope an audience will come away from after watching this play?
I hope it will stimulate discussion, that the play will help people humanise all of those that are caught up in the impact of terror. The vast majority of people on any side of the arguments are victims. The biggest threats to cohesive existence is the refusal to discuss and listen. We need to talk to terrorists.

Mathew Costin and Joseph JU Taylor can be seen in Talking To Terrorists by Robin Soans.
Dates: 23 May – 3 June, 2017
Venue: King Street Theatre

5 Questions with Sam O’Sullivan and Whitney Richards

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Sam O’Sullivan

Whitney Richards: What was the seedling from Doubt that started this whole process?
Sam O’Sullivan: In the preface of Doubt, John Patrick Shanley, wrote about the feeling of doubt having negative, weak connotations, however he views it as a sign of strength. He wrote that doubt is the first step towards change and the ability to grow. If we’re too stuck in our ways, too certain of our world, we lose our capacity for empathy and risk isolating ourselves from our fellow humans. I loved this idea and it influenced my entire reading of Shanley’s play. From this, I knew I wanted to write something about doubt as strength.

Are you surprised with how the original idea has evolved into the final product?
Yes and no. My brief from Redline was always to take an element of the play – whatever spoke to me – and run with it. And Doubt is such a rich piece of writing, that there were a lot of directions I could have run. So I’m not too surprised that we have ended up where we are, but in saying that, I think I’ve always been conscious that we are on the same night as Doubt. We want to have a play that will interest the audiences who are coming to see Shanley’s play.

Do you think it’s a happy accident that the team is mostly WA migrants? How has that influenced the production?
It is a happy accident because, with the exception of my relationship with you (Whitney), none of us really knew each other before we started working on this play. But we definitely all bonded very quickly and I think Perth had something to do with that.

What has been different about this quick response process to how you usually work?
I always work for quite sporadic, intense periods and then shove scripts away in a drawer to ferment for a few months while I go something else. This time around, I haven’t been able walk away for too long, so to compensate I think I’ve been a lot more collaborative with the cast and production team to fast track some of the creative decisions.

As a writer/actor, what is it like to step back and hand your work over to other actors? Basically… do you love us?
It’s awful. I’ve never seen a bigger bunch of numpties make something so simple look so difficult. 🙂 But yes, I love you.

Whitney Richards

Sam O’Sullivan: What’s the best and worst thing about travelling alone?
Well, I’ve done this one a lot lately. Although it’s always been paired with touring a show which is really bloody stressful alone. You’re not sharing the workload of scheduling and plans which can be a bugger but also you get to do what you want when you want. At times I’ve felt a little vulnerable. Like I had to be hyper aware of personal safety. I did have my heart broken whilst overseas and that really sucked.

My travel self is my best self. I feel more alive and keen to push myself to try new things. When you travel alone you are without metaphorical baggage. No job title, no relationships. You become more present. You are forced to make friends. And fast track these relationships because you know your have limited time. People see you for who you are which I’ve found to be a confidence boost. I come home feeling more comfortable in my own skin. I do have moments of sadness when something at home triggers a memory from my travels; a song or a person or a show and I have no-one to rekindle the memory with.

What can your siblings do that still drive you nuts?
Actually, I’ve always completely admired my older sisters. They’re intelligent, fiery and hilarious women and mums. There’s a bit of an age gap between us so they never drove me nuts in the way my nieces and nephews do to each other. Such a power play there. It’s fascinating to watch the love and the hate. The care for each other and then the violence! Just like the characters in The Wind In The Underground. It’s been fun playing siblings that grew up together because my sisters and I didn’t get to do that. I’m younger than my sisters so I reckon I was probably the irritating one. I do remember visiting my sister when I had turned 18 and her saying to me “You’re so different. I can have a conversation with you now.”

Whats a private joke that only you and your siblings would find funny?
It might be a WA thing or an us thing…but we’ve always enjoyed the word “jobby”. Its means poo. Yep.

How has rehearsing The Wind In The Underground been different to other plays?
It’s always thrilling to be involved in new works. You get to witness and be a part of the changes that make it a stronger and stronger story. I love hearing from writers about the impetus for the story and characters. It was odd watching Doubt the other night and remembering that The Wind In The Underground is a response to that. It’s such a different world. I think people seeing the double will have an excellent night at the theatre.

The 40 minute slot is something I’ve never done before. The story has to be simpler than a 1hr+ show to have a satisfying beginning middle and end. Claire is an interesting person to explore. She doesn’t say a whole lot so finding a way to thread her emotional journey together continues to be an interesting process for me. She’s stuck in an place I found myself in a few years ago (pre-travel) so that’s been familiar territory.

I hadn’t worked with anyone on our team before, so it’s been a bloody delight getting to know these hilarious humans. We feel like a real family.

Whats your favourite thing about the Old Fitz?
I spend my nights ushering at Belvoir St and Sydney Theatre Company so when I have a night off, I usually try to spend it away from the theatre. I’m embarrassed to admit I don’t see everything at the Old Fitz. I’ve really enjoyed my time there though. Firstly, the space itself is really great. The 60ish seater is truly my favourite. It’s perfect for really hearing and connecting with an audience. You’re much closer to the feedback loop. It reminds me of the beautiful Blue Room theatre in Perth. I’m enjoying the vom entrance very much too.

It seems like Redline have a great connection with the patrons of the pub, the people who run it and the theatre community. So from someone coming in with fresh eyes, that seems to be a beautiful functioning thing. I’m looking forward to our season and hope to see more shows there in the future.

Whitney Richards appears in The Wind In The Underground by Sam O’Sullivan.
Dates: 23 May – 3 June, 2017
Venue: Old Fitz Theatre