Category Archives: Suzy’s 5 Questions

5 Questions with Veronica Clavijo and James Martin

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Veronica Clavijo

James Martin: How is your role in the play different from anything you have done before?
Veronica Clavijo: I must say it is definitely a first that I get the opportunity to play this type of character for a period piece. Louise is majorly concerned with the societal values of the time and her character seems to be a reflection of the society as a whole. She seems to be ‘the voice of reason’ in the show and shows the audience how radical and forward thinking some of the others are. In the last show I did, Fiddler On The Roof, I played Tzeitel, a woman who was rebelling against society. It has been interesting to get into the mind of someone from the other side of the spectrum. It has been interesting to understand Louise’s truth and what family, society and honour mean to her.

What about Louise do you as Veronica most relate to?
Louise is passionate and outspoken and is actually quite forward with the men around her. Although I can’t relate to her wanting to do everything possible to appease the town and the society I can relate to her passion. I can relate to the fact that she will not stop until she is heard and that she challenges the men in her life. She is not afraid to speak her mind, to correct them and to question them. She is a fighter!

If you were a poet, what would you write about?
I would write about happiness, love and the human condition! And maybe my love of Harry Potter.

Why is this story important to be told in the 21st century?
I believe it is important because it still harbours relevant issues. The idea of love, family, honour and responsibility the play touches on are all things an audience can relate to. Another thing is the question of who should have Alison’s poetry? And, did she indeed write it for women. If that is the case, shouldn’t it be the women in her family who decide what to do with them?

Is there another character in the play that you can relate to?
I can relate to the character of Eben empathetically. Eben is sad, bored and is unhappy with his job and his life. I mean, we have all been there before! He wants more, he is sensitive and he wants to feel more in his life. He searches for truth, love and happiness. He wants to mean more and for his life to mean more. I think these are basic human feelings that we can all relate to. I love that Susan Glaspell gave these qualities to a man. Eben is not unfeeling, or stern, or angry or written to be aggressive in a stereotypically masculine way. For this reason, I think a lot of audience members will relate to him.

James Martin

Veronica Clavijo: What was it about the play, Alison’s House that made you want to audition?
James Martin: Reading the script for the first time, I found it to be a moving story with 11 different quirky characters with their own story and journey, all coming together to remember Alison in their own way. When I realised that I couldn’t not audition.

You play a character who is seemingly disinterested in Alison’s poetry, life and the respect she garnered through her literature. Tell us what you have discovered about Ted and how he feels about his Aunt Alison.
Doing my work on Ted, I found him to be the outcast in his family. Not quite fitting in with his father or Eben or even Elsa. Which leads me to believe that he is a bit of a mummy’s boy. We also need to consider the Ted was 2 years old when Alison died. So really Ted see’s Alison as this goldmine that he can make some money from, or at least use to pass college. I mean he obviously cares about her and the rest of the family, but If I was related to someone as influential as Alison Stanhope, I’d probably be trying to make money off them as well. However what I admire about Ted is that he’s a hard worker! He is willing to put all this work into something if he knows it’s going to make him successful.

Why do you think the play is still relevant if not more today?
Every family is so different, especially in today’s world. There is no ‘social norm’ when it comes to family. Everyone does it different and I think that this play shows that. It has the ability to tell a story of a close family that has grown apart and is now coming back together, and I think there is something beautiful and timeless in that.

What has been your favourite part of the rehearsal process?
Just seeing how far and how big Ted can go. Trying to find the boundaries of Ted and his role in the family is so much fun and it’s a never ending Journey.

Finally, if Ted was put into a modern setting what type of millennial would he be?
Ted’s a big personality with a good mind for business. I think he would be some kind of social media influencer, like a YouTuber just doing dumb things on camera and entertaining millions.

Veronica Clavijo and James Martin are appearing in Alison’s House, by Susan Glaspell.
Dates: 4 – 21 April, 2018
Venue: The Depot Theatre

5 Questions with Shannan Lim and Vidya Rajan

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Shannan Lim

Vidya Rajan: What does being Asian-Australian mean to you? Do you like the term?
Shannan Lim: For me, ‘Asian-Australian’ works. I was raised between Singapore and Australia. So it indicates two parts of an identity—people are always more than one thing. I am ambivalent about the term though. I’ve always thought, you can only call yourself ‘Australian’, without a prefix and without questions, if you look white.

What do you enjoy most about Asian Ghost-ery Store?
That it alternates between frank, sometimes mumblecore dialogue between our characters to the audience, and then over-the-top or physical scenes. As a writer you can speak in two different tones, and as a performer there are different rhythms to play with so that’s nice. And I really like the ending of Asian Ghost-ery Store!

What has been most challenging, either artistically or in reception?
Because you and I play versions of ourselves and all the stories are at least partly truthful, even if they are edited or swapped between us or amplified, when the audience wasn’t onboard in the earlier days it used to shake me. But this has changed the more Asian Ghost-ery Store has grown, the more experience we’ve had doing it.

Has there been anything that has surprised you about your identity through making this work?
The biggest shock has been how much people have connected with our brand of Asian-ness, which is kind of pathetic and self-involved. But it’s very relatable, I think. It’s strangely made me —at the same time—more OK with my Asian identity and how it relates to other parts of my life, and more riled about the politics of race.

What does political theatre or practice mean to you now and going into the future?
Is this an essay question? If you’re making political theatre your intent is to have the audience question something about their everyday that they take for granted. I’m a clown too, and clowning is outside of intellectualism. So going in the future, I want to balance the politics in my work with me just rolling around on the floor for no reason.

Vidya Rajan

Shannan Lim: We started creating Asian Ghost-ery Store close to four years ago. How have you changed as an artist, as a person since then?
Vidya Rajan: Has it been that long? I’ve changed immensely. I’ve become more serious about being an artist I suppose, I moved to the Melbourne (the true mark of it haha) pretty and finished study at the VCA recently. I’ve explored new forms of work, and I think or hope my practice is evolving in exciting ways and becoming deeper. I suppose I hope the same for myself as a person but I am not sure if that’s true.

If the play was turned into a TV series and you had to cast different performers, who would you cast as our characters Shan and Yaya? What qualities would you look for?
Aiya! I’d be looking for actors who could be sassy and off-kilter but emotional at the same time. Maybe John Early and Kate Berlant, but in…brown and yellow face (NO). Nobody springs to mind really, which could be a function of my lack of knowledge, or the fact there’s such little representation still.

What would Asian Ghost-ery Store look like if it were staged a hundred years in the future?
I think and hope it would lose some of its immediate relevance that relies on certain racial stuff being true? It would be like staging an interesting history piece. But I hope the humour and relationships would carry through to the holograms.

What are you looking forward to seeing or doing while you’re in Sydney?
I’d really like to see other shows at the fest! Other than that, I’ve rarely been in Sydney so all the touristy stuff. I love a good botanical garden.

What’s the next project you’re working on?
A few things! I’m writing on a pilot at the moment, and devising a couple of shows. Also working as an Associate Artist with Theatre Works in the first part of the year. I’m also trying to stop my aged Indian relatives from constantly sending me inspirational memes about god which is almost a full-time job.

Shannan Lim and Vidya Rajan appear in Asian Ghost-ery Store, part of the Batch Festival at Griffin Theatre Co.
Dates: 11 – 28 April, 2018
Venue: SBW Stables Theatre

5 Questions with Danica Burch and Dominique Purdue

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Danica Burch

Dominique Purdue: If you could describe your character using a song, what would it be?
Danica Burch: Due to the circumstances in this play, I think “Haunted” by Beyonce would be the most appropriate fit for poor Helen. But maybe at the end of the play she is more of a “Walking On Sunshine” kinda gal.

What movie traumatised you as a kid?
I remember watching Scary Movie 2 as a kid and I was actually really scared. I didn’t realise it was a parody of other horror films… and I obviously missed the comedy in it. Forrest Gump used to creep me out as well, especially the war scenes. I saw that film about 3 or 4 times as a kid and always found it really unsettling.

Apart from acting, what’s your dream job?
If I wasn’t acting, I think I would enjoy being a celebrity fashion stylist or maybe even someone’s personal creative director… Someone really extra like Lady Gaga or Cardi B. How fun would it be to dress someone up in ridiculous outfits and decide if they should arrive at the Grammy Awards in an alien egg or a meat dress.

If you could play any instrument, what would it be?
Well, I can already play the piano… I wish I was more skilled, but I no longer have a piano to practice on. Although, the other day I saw that you can get silicone keyboards that roll up for storage. It blew my mind. I think that I should get one so that I can start playing again. I’d also like to learn the violin one day.

If you could live in any fantasy universe, what would it be and why?
Well obviously I would love to ride a hippogriff and drink butterbeer and experience all that Hogwarts has to offer. But if that’s asking too much, I would settle for a world where teleportation is possible. I think it would be so useful and you would have so much extra time. No rush hour train rides, no sitting in traffic, no 23 hour flights to Europe. Also, think of the money you’d save!

Dominique Purdue

Danica Burch: What is your favourite theatre production that you have seen?
Dominique Purdue: There’s been so many, but I saw Twelfth Night last year at the Globe Theatre in London. It was insanely good; I always thought the Globe put on really traditional productions of Shakespeare, which I also enjoy, but this one was so well-adapted for modern audiences and I was literally laughing the entire time. I also bought an embarrassing amount of Shakespeare merchandise from the gift shop, so that was definitely a plus.

Do you believe in ghosts?
Hell yeah I do. I haven’t had a supernatural experience yet, but I watch too much Ghost Adventures to not believe in ghosts.

What is the weirdest food combo that you enjoy eating?
I like a lot of weird food combos. I like pineapple on pizza, so there’s that. I also like really, really salty fries dipped in ice cream.

What city, apart from Sydney, would you like to live in?
I’m an actor, so I’m gonna say New York, for sure. I also recently visited Lisbon in Portugal last year, and I surprisingly loved it, so I would definitely live in Lisbon for a good few months.

If you could get inside the mind of any actor in the world, who would it be and why?
Oh man, the dream! It changes every few weeks, but right now I’m gonna say Taika Waititi. He’s directed/acted in a bunch of golden indie films and he recently directed the new Thor film. I think he’s a genius, I love the sense of humour that in puts into each of his films, even when they’re dealing with some pretty hard-hitting issues. I would really have loved to have been in his head when he was developing/filming What We Do In the Shadows. That film should be a New Zealand national treasure.

Danica Burch and Dominique Purdue are appearing in Sherlock Holmes And The Speckled Band, by Arthur Conan Doyle, adapted by Max Gee.
Dates: 7th April – 12th May, 2018
Venue: Genesian Theatre

5 Questions with Morgan Maguire and Wendy Mocke

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Morgan Maguire

Wendy Mocke: Morgan my dear, there is a line in Britney Spear’s song ‘Radar’ that states, “confidence is a must, cockiness is a plus.” Describe Home Invasion using a title of one of Britney’s songs.
Morgan Maguire: Hmmm so many options… I’m going to have to go with the seminal work that is ‘Crazy’. Hopefully the home invasion would not intensify to hit me baby one more time, I was born to make u happy or I’m a slave for you.

This next one may be a deeply personal question but I want you to feel as comfortable as Tom Cruise did when he jumped on Oprah’s couch. What do you think your dance style says about your personality?
Hmmm thanks for being so respectful of my personal boundaries Wendy. I feel my dance style could be described as “thrusty chaos” (often without the support of proper underwear). So I like to imagine this says “that Morgan, she’s a thinker…”

In 2016, Danielle Bregoli famously stated, “cash me ousside, how bow dah”. What do you think was outside?
Her and cash?

In 1988, Paul Abdul released her smash hit single; ‘Opposites Attract’. According to science, this theory is false. Who are you most likely to believe, Paula Abdul or science?
Paula because she was dueting with an animated anthropomorphic street smart hip hop cat and it was implied that they had an intimate relationship so she obviously has a strong grip on logic and reality.

Besides me, who in the cast or crew are you most likely to have as your idol and why?
Wendy, are you flirting with me?

Wendy Mocke

Morgan Maguire: Oh hai Wendy, so I figure this is my *ultimate* chance to channel James Lipton from Inside The Actors Studio… tell me – what is your favourite word? What is your least favourite word?
Wendy Mocke: Wow, you jumped right in there didn’t you? Such a personal question… I consider myself more of the silent brooding type, you know the type that lounges in old leather chairs, face lit by ambient mood lighting, listening to James Blunt whilst tossing back a few bourbons and getting lost in a sea of my own emotions. Speaking of emotions, my favourite word right now is ‘raclette’. If you’re not sure of what that word is, google it, you can thank me later. My least favourite word is ‘couscous’. I’m immediately sceptical of something being so nice they named it twice. It’s presumptuous.

What’s your guilty television indulgence?
Umm, well Morgan, I would say guilt is not an emotion I like to carry around with me #NoRegrets. However to answer your question, I’ll throw into the ring the Chinese dating show called If You Are The One. Witnessing public rituals of humiliation, camouflaged as a romantic quests is somewhat awkward and uncomfortable – much like how I naturally get around in life.

What profession would you not like to do?
Probably a high school maths teacher. No parent should ever entrust me with their teenager’s secondary maths education. It’s like asking Donald Trump to tell the truth.

Top five books in no particular order?
‘Ain’t I A Woman’ – bell hooks
‘Where The Wild Things Are’ – Maurice Sendak
‘Sevenwaters’ Trilogy – Juliet Marillier
‘Why I’m No Longer Talking To White People About Race’ – Reni Eddo-Lodge
‘Bad Feminist’ – Roxane Gay

When did you last sing to yourself? To someone else?
Well Morgan if you must know, I sang to myself and my neighbour only just twenty minutes ago. My neighbour wasn’t a willing participant to my singing, they happened to be collateral damage. I’m confident they’ll thank me later after the initial shock has worn off, I’m a lot to take in.

Morgan Maguire and Wendy Mocke are appearing in Home Invasion, by Christopher Bryant.
Dates: 21 March – 7 April, 2018
Venue: Old 505 Theatre

5 Questions with Emma Harvie and Michelle Ny

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Emma Harvie

Michelle Ny: What is your dream role to play?
Emma Harvie: I’m not sure my dream role exists yet. I do think Liam Neeson’s role in Taken would be fun.

How did the journey of wanting to be an actor begin for you?
Since I was a kid I loved performing. I used to make up dances with my sister and cousin and make films with my best friend. At some point in primary school I knew I wanted to be an actor.

What are the obstacles you’ve had to face as a POC actor?
The roles I used to apply for were very different to what I put myself forward for now. I was always aware of families and would look for roles that didn’t have any relatives on stage because I didn’t believe a non-white family would be cast on a Sydney stage. Now I apply for everything. The conversations around ‘diversity’ in the arts are so important, and I cannot wait for the time when I no longer have to have them.

Tell me about your most cringe audition?
Mmm I’ve done a few bad Indian accent auditions… I just have not mastered this accent yet. My family is Sri Lankan and the accent is similar so I slip into that and it becomes a mess.

Where do you want to see yourself in 5 years?
Somewhere with a few more screen credits to my name. My sister and I speak a lot about writing a comedy series, I want to make that happen and play the lead. I will also have a dog.

Michelle Ny

Emma Harvie: Can you remember a word/phrase you loved when you were 17?
Michelle Ny: I don’t know if I loved it… but I used to say ‘lol’ ironically until it became part of my normal speak lol. 

What’s your favourite post show snack?
A pint of VB or San Remo instant pasta.

Did you play sport in high school?
I played soccer and netball but in year 10 (year 9 here), I was put in a crappy netball team and (in no way a brag!!) I was the best player and I had to do all the hard work so I dropped out. Then I started playing social soccer with my friends and our team was called Dragon Fire Ninja Warriors. 

What are the challenges/perks of being a Cambodian/New Zealander actor in Australia?
I’ve been lucky to work with people who are conscious of diverse representation so the perks are actually being seen and standing out among my white peers. But the challenge of course is still under-representation and lack of opportunity for work. But there’s a reason I’m working in Sydney and not New Zealand. It may not be perfect but there is a conscious effort to support young POC artists and the quality of work is high, buzzing and exciting. 

What song do you think your character would pump before a game?
“Katy on a Mission” by Katy B. Listen to it. 

Emma Harvie and Michelle Ny are appearing in The Wolves, by Sarah DeLappe.
Dates: 14 March – 14 April, 2018
Venue: Old Fitz Theatre

5 Questions with Dina Panozzo and David Soncin

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Dina Panozzo

David Soncin: In five words how would describe your character, Momma Bianchi?
Dina Panozzo: Heart, big-love, the-boss, fire and wit!

Do you find your character, or the play as a whole, has any similarities to your life personally?
I think we’re similar in her immediacy and, sometimes, her hot head! The play is a direct shot to my heart of the past as my family, with my 18 month old brother and 3 month old baby me, arrived in Melbourne in 1955, just at the time of this play’s setting! So these people are so like my people back then.

Have you found any challenges with approaching this particular text?
To fight my prejudice against the assumption of its clique-ness! In my first read of the play, the Italians, written with the ‘accent’ in the lines by an Anglo writer, read as an Australian fairytale to me… non-authentic. But, as I’ve gone deeper into the process of telling this story along with my fellow actors, I find it to be profound and moving — with Tony Poli who plays my husband, we go into the sound of our first language — and it is coming to life and so, so much more complex than I first thought. It is an important study on racism and tolerance I believe.

Do you have any inspirations for approaching Momma’s character, or even your work in general?
My mamma e papà, Maria Panozzo e Bruno Panozzo, who were and are still brave and true, and — I have to say even if too “woggy” sounding — all the immigrants who want to belong (like Gino, our son in the play, who is really the only one who stands up for his right to belong).

If you could pick out of Momma Bianchi’s two children, why is Gino your favourite?
Because he’s still young enough to kiss and hit if cheeky!

David Soncin

Dina Panozzo: What five words would you use to describe The Shifting Heart?
David Soncin: Immigrants, assimilation, family, racism, pride.

What’s the most difficult part of bringing this play/Gino to life?
Probably exploring and understanding that part of Gino that seeks acceptance – understanding the struggle with indifference, and his determination to assimilate, which he does with total optimism – and finding those similar things in myself. That, and singing 4 bars of “Americano”.

What do you think Gino dreams about for the future?
I think Gino deep down just wants to live a good life in his new country: get married, have kids, have a successful business with his brother-in-law and, most importantly, be accepted by his Anglo counterparts as a true Australian.

What do you love about the play?
Well firstly, I love the fact we have an Australian classic that explores Italian culture and, having a full Italian immigrant background on both sides of the family, it’s exciting that I get the chance to tell these types of stories. It deals with the psychology of racism, discrimination, racial and domestic violence, and the cultural struggle of an immigrant family. But I also love the fact it doesn’t shy away from the humour of a loud Italian family because that shit is funny!

How do you think this play relates to us in the here and now?
I could probably write a whole essay answering that question, but the school students seeing the show might plagiarise. The short answer is, I absolutely believe the play is still relevant, for many reasons. The Shifting Heart highlights the negative patterns of thinking and physical behaviour towards immigrants, different cultures and ethnicities, and that those patterns seem to keep seeping through the cracks each generation. I don’t think the play’s intention though is to put Italians specifically in a sort of victim pigeon hole, but I believe it’s an important period of reflection of Australian immigrant history.

The play also comments on the interesting notion of subtle/subconscious racism in everyday language, like jokes about one culture being okay, but not others; when is it innocent and when is it racist? I have my own experiences but not necessarily the answers. But, as opinions are often the lowest form of knowledge, I’d have to say come and see the show! I’m always curious to hear about audiences’ own experiences on the play’s subject matter.

Dina Panozzo and David Soncin can be seen in The Shifting Heart by Richard Beynon.
Dates: 8 – 24 Mar, 2018
Venue: Seymour Centre

5 Questions with Patrick Howard and Victoria Zerbst

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Patrick Howard

Victoria Zerbst: Patrick, you have traversed many stages and productions in various wonderful roles, what has your theatre journey been like for the last few years and what brings you back musical theatre?
Patrick Howard: The past few post-drama-school years of working freelance in theatre have been really challenging and rewarding. I’ve found myself naked, covered in blood, crying on top of four tonnes of soil before quick-changing into a devil costume. I’ve found myself playing a weird detached version of myself, doing stand-up comedy about death. But mostly I’ve worked behind the scenes in production/stage management and as a director and sound designer. The last book musical I did was six years ago, discounting Marat/Sade a few years back, and it’s been wonderful and very different to be doing a musical again. As a musician (which I was before I was a thespian) and an actor, there’s something so incredible about reaching a place of heightened emotion as your character, where your only choice is to sing; words alone won’t cut it. Of course, Sondheim does this so well and seamlessly, it never jars at all. I missed that thrill, and I missed making music with a giant bunch of passionate actors, it’s so thrilling to be doing it again after all this time.

Frank would be such an interesting character to play! How do you develop a character who does such terrible things but remains likeable and charming throughout the show?
It’s a tricky one. I often find myself very frequently playing men that are quite performatively masculine, aggressive and do terrible things. I take a lot of perverse pleasure in this, being a bit of a bleeding-heart queer boy in real life – I feel like this gives me a unique take on what can be, at times, pretty architypical roles. The difference with Frank is that, as the central protagonist of the story, the audience needs to root for him even though he does some really awful things – he’s not a cut-and-dry bad guy. With any character, playing the truth of what’s in the text should do almost all of the work, you’ve got to trust the writer as god of the world you’re inhabiting, and in Merrily, Sondheim and Furth have cleverly arranged Frank’s story in reverse, with the audience watching him transform from a tragic, miserable wreck of a man into his former, youthful, optimistic self. Your empathy for Frank grows through this, you can see the mistakes he’s made, and more than if it were played chronologically, I think it makes you really consider what choices lead us to our various ends.

What has it been like working with Little Triangle and all the amazing members of the cast and crew?
A bloody dream. The team are so wonderful and it’s got to be the most professionally-run indie company I’ve ever worked for. Our producer, Rose, is so organised and her love of her work is so evident. Our director, Alex, is an absolute dreamboat, and is incredibly insightful and intelligent. Conrad, our MD, is a wizard and has to be one of the most optimistic and encouraging people I’ve ever met. Our répétiteurs Antonio and Alex are remarkable, and the rest of the cast… I mean you just have to come and see them. Each is more talented, generous, gorgeous, encouraging and intelligent than the last. There’s an incredible synergy in the room, and I’m not ashamed to say that after the first few rehearsals I’d walk the bus home with happy tears welling in my eyes, because they all brought so much joy into my little artfag heart. We sing a lot about being ‘Old Friends’ in the show for people who’ve only known each other for a few months, but it truly feels like we all go way back.

Do you reckon prospective audience members should listen to a few tunes before coming to the show? Which ones would you recommend?
Oooh, I suppose it depends if you’re someone who likes to know everything about what they’re about to see, or if you like to be completely surprised. Not many people know this show very well, it was famously a tremendous flop when it opened on Broadway in 1981, and despite being re-written a bunch and being a truly brilliant show, it doesn’t get seen often outside of, oddly, high school productions (as can be seen in the recent movie Lady Bird). But if you wanted a little taste of the show before going to see it, I’d recommend tapping your toes along to ‘Now You Know’, which is the absolute banger that closes Act 1, or the titular ‘Merrily We Roll Along’ which opens the show. For something with a little more heart, ‘Growing Up’, ‘Not A Day Goes By’, or ‘Good Thing Going’ are what you’re after.

Why do you think this musical is still important? What do you want the audience to get out of it?
I think often a lot of theatre tends to focus on romantic relationships as central to plot, and that’s particularly the case in most musical theatre. Merrily does have quite a bit of romantic drama in it, certainly, but this is one of only a few shows that really focuses in on a complex, messy, beautiful friendship, namely between Frank, Charley and Mary. These three are the best of friends there are (and ultimately, they aren’t, which is just so, so heartbreaking), and I think it’s wonderful to celebrate friendship and have it portrayed quite honestly on stage. Playing scenes where Frank and Charley, two married, heterosexual men, openly tell each other in quite emotional terms that they love each other, is such a special thing as well – for all their faults, the way they express their friendship is really beautiful. I think watching the story unfold backwards makes it important, too. It gives an audience the relief of guessing ‘what happens’ and lets them concentrate on what’s happening, with the dramatic irony of knowing what comes next. You can find little moments in the action to think, ‘See, here’s where it starts to go wrong. Why can’t you see it happening Frank?’ and maybe that gives you pause to think more carefully about the choices you’re making in your own life.

Victoria Zerbst

Patrick Howard: What about theatre in Sydney is exciting you most at the moment?
Victoria Zerbst: I’m so excited by theatre in Sydney at the moment and there are so so many shows on my to see list. I think that’s because a lot of shows coming up align heaps with my interests – sick female-centred stories, independent musicals, works by new and emerging Aussies writers and lots of theatre for young people.

How has your background in comedy helped you prepare the role of Mary Flynn?
I think coming from a comedy background has helped me find new and interesting ways to deliver lines and bring out humour in dialogue. Mary is already a very wry and hilarious character with sick one-liners so experimenting with timing and delivery of the lines has been such a blast.

But I also think writing and performing comedy for the past few years has really helped me find my voice as a performer. Writing my own stuff has been very empowering because I’ve learnt what makes me laugh, what makes me different as a performer, and how I can uniquely shape a role from my own point of view.

That has really helped me find an honest and real way for me to tell Mary’s story that comes from my blood. Hopefully this will connect with audiences and bring the character to life.

Mary is quite an intelligent, complex character, but spends years pining for Frank, even when there’s little-to-no chance of fulfilment. What is it like to play a role like that in 2018?
This is such a cool question and something I think about a lot! Mary is a smart, thoughtful character but one of her primary arcs in the show is her dealing with an unrequited romantic situation. She is often left disempowered by her relationship with Frank and I often wonder if it appears that she is primarily defined by this relationship.

But I really think there is a lot more to her thank that. I try to reframe her romantic pursuit of Frank from her own point of view – she’s a total dreamer, she’s endlessly hopeful and loyal and she really cares about the people in her life. I think this speaks to her complexity as a character and her intertwined strength and vulnerability.

Strong female characters don’t have to be flawless, completely empowered women. I think her enduring love for Frank is totally relatable and, while I often wish she would just snap out of it and see her own worth, I think this internal conflict is something with which a lot of people can relate.

What’s been most thrilling about the process so far, and what’s been most challenging?
Thrilling: Definitely running all the songs in rehearsals. I love the music so much and hearing them sung so well by this amazing cast I swear everyday I’m so moved and then I’m dancing and then I’m crying.

Challenging: Oh man some of Sondheim’s melodies!! So often I sit by the piano frozen by this man’s genius and then I curse his name for those subtle little changes in musical phrases that literally keep me up at night.

Sondheim is a god of 20th Century theatre, and his music and lyrics alone are reason enough for people to come and see the show. What are some other reasons to come, and what do you hope audiences take away?
The thing I love most about this musical is that is has such a big heart. It’s definitely one of those ‘makes you laugh, makes you cry’ shows. I think audiences will totally fall in love with these characters and feel for them on their journeys as the show takes them back through time.

Because the show spans so many years of these characters lives, there are so many amazing emotional arcs and moments of growth and change. I hope in watching this show audiences are moved to think about the choices we make in life, how we define success, how people change over time, how our dreams are found and forgotten, and about how friendships are made and lost over time. There are so many juicy moments in the show about friendship and forgiveness, love and connection and I think that will speak to everyone who comes and sees the show.

Patrick Howard and Victoria Zerbst are appearing in Merrily We Roll Along, by Stephen Sondheim.
Dates: 7 – 24 March, 2018
Venue: The Depot Theatre

5 Questions with Lou Pollard and Tim Hansen

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Lou Pollard

Tim Hansen: What was your first Shakespearean role on stage?
Lou Pollard: Portia in The Merchant Of Venice when I was a teenager questioning my entire life. My mum’s family were very religious and I spent years going to Sunday school at my grandparent’s church. So I have a lot of hymns and prayers in my head that don’t mean much to me! This play was the first time I actually understood the biblical concept of God teaching man to show mercy to fellow human beings. “Though justice be thy plea, consider this, That, in the course of justice, none of us should see salvation: we do pray for mercy; And that same prayer doth teach us all to render the deeds of mercy.”

Who is your favourite Shakespearean villain?
I do love Lady Macbeth, but is she a villain, or just a woman with the strength to stand by what she believes, and do what the men around her do not have the courage to carry out? She reminds me of British PM Margaret Thatcher, a woman with a hard heart and strong convictions surrounded by powerful men. Or maybe she was just a complete cow with no empathy whatsoever. Humans are
very complicated beings, Shakespeare understood this so well. “Come, you spirits / That tend on mortal thoughts, unsex me here, / And fill me from the crown to the toe top-full / Of direst cruelty. Make thick my blood. / Stop up th’ access and passage to remorse

How are you preparing for the show?
I’m feeling very white bread, so I’m listening to rap tracks. My youngest daughter loves Nicki Minaj so I’ve had her on repeat at home. I’ve also been reading monologues and sonnets, and I read Bill Bryson’s book Shakespeare: The World As Stage which is a fascinating look at the history of the time and where Shakespeare was living when he wrote most of his work.

What monologue are you prepping, and why did you choose it?
I’ve picked my favourite sonnet because I want to play with the rhythm of it. I’ve been a big Eminem fan for a long time and I’m thrilled I’ve got the opportunity to maybe bring my humour and
sense of play to a ‘serious’ work. Some acting friends who are well-versed in Shakespeare feel that the sonnet I’ve chosen is a bit of a downer, but I think it ends on a really positive note. I first learnt the sonnet 25 years ago and as I age it becomes more of a truth in my life than ever before.

Why do you think Shakespeare still resonates with audiences after all these years?
Shakespeare was so smart and funny and understood that relationships are tricky. His writing conveys that he understood the complexity of humans and the tangled, messy lives we lead. His
sense of humour was so sharp and his observations of the frailties of human life were so acute, that we still understand when he says, “to be or not to be, that is the question: Whether ’tis nobler in the mind to suffer. The slings and arrows of outrageous fortune. Or to take arms against a sea of troubles. And by opposing end them. To die, to sleep– No more–and by a sleep to say we end. The heartache, and the thousand natural shocks that flesh is heir to.” That’s why I love working with the Leftovers. Their clever shows provoke an audience to question how we as a society deal with gender roles, crime, racism & intolerance; the same issues that Shakespeare was writing about.

Tim Hansen

Lou Pollard: When did you fall in love with Shakespeare?
Tim Hansen: I was first meaningfully exposed to Shakespeare in high school and it wasn’t exactly love at first sight. Like a lot of high school students I could not understand why we had to trawl through this archaic language and try to understand it and write essays on it and pick apart conceits and sonnets and metaphors. It wasn’t until I was in year 9 and my school participated in the Shakespeare competition (is that still a thing? I went to school last century) that I really began to “get” Shakespeare. I grew up in a country town and there were really limited opportunities to get up on stage and perform, so when my English teacher said there was a competition that involved being on stage and performing I was totally in – I would have been happy reciting the ingredients on a box of clothes detergent as long as there was an audience. My group performed Act 3 Scene V from Romeo And Juliet, where Capulet rages at Juliet because she won’t marry Paris. I was Capulet. I remember walking around and around my backyard with my script in hand reciting the lines to myself in order to learn them, and I remember loving it because the language had this rhythm to it that just kind of synced with my steps and sunk into my brain like a hot ball bearing into butter. To this day I can still remember my opening lines. So studying it in English sucked all the fun out of it, but once I got up on stage to perform it, I got it. Now, I read Shakespeare for my own personal pleasure. It’s calming and beautiful. I love it.

Why did you want to work with the Leftovers Collective?
I’m a weird performer. I have a theatre degree but have kind of patchy actor training. My main vocation is actually music composition, and music is where I spend most of my creative
headspace. Music is my job, whilst theatre is my passion, and though I love my job I miss getting up on stage. Plus although I love conventional director/actor/script/audience set ups, I’m very attracted to experimental collaborative processes where no one’s really sure what’s going to happen. And then, suddenly, there’s a collective that takes you as you are, that doesn’t ask for you to strictly mould yourself around the requirements of one person’s vision but instead says “what are all the things you can do? Let’s find a way to make theatre together”. That kind of thing is totally my cup of tea.

What’s your favourite Shakespearean insult?
For sheer overall relentlessness you can’t go past the interactions between Kate and Petruchio in The Taming Of The Shrew – I think it was a production of that play by Bell Shakespeare way back in like 2000/2001 I saw that was the first time I laughed out loud from beginning to end at a Shakespearean play. But I think my favourite would have to be from Troilus And Cressida: “Thou hast no more brain than I have in my elbows”. Brutal.

Are you a trained dancer? Will you be dressed in dance gear for the show?
Um I am most certainly not a trained dancer. I move like a rusty clothes line blowing in a gale. So yes I will absolutely be dressed like a tragic reject from Wham!

Where would you most like to perform this show?
I have this vision of us all getting together in some deserted car park and having an 80’s style dance-off with boom boxes and breakdancing like at the beginning of Michael Jackson’s Bad video clip. Except please don’t ask me to breakdance. I’ll just break.

Lou Pollard and Tim Hansen are appearing in Shakespeakre Dance Party, with The Leftovers Collective.
Dates: 11 March, 2018
Venue: Hustle & Flow Bar, Redfern

5 Questions with Josh Anderson and Badaidilaga Maftuh-Flynn

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Josh Anderson

Badaidilaga Maftuh-Flynn: If you could have any job other than acting, what would it be?
Josh Anderson: A bear biologist. I think bears are incredible creatures and I’d love to study and help protect bears in the wild.

If your brother was like Bryce and ended up in a Thai prison, what would be your reaction?
If my brother was stuck in a situation like Bryce, I’d do everything in my power to have a merciful sentence passed down. Capital punishment is an atrocity – but as we’ve seen in the past, there isn’t a hell of a lot we can do once a sovereign nation’s mind is made up.

If you could choose to live in any city/place in the world, where would you live?
Stockholm. What’s not to love?

If you ran into Donald Trump in an elevator, what would you do/say?
I’d take the stairs.

What do you feel is the most challenging part of being an actor in the Australian industry?
I think there are many challenging things for actors in the Australian industry, but one that springs to mind is the limited space available for independent theatre makers. There are incredible companies out there that just don’t have the rehearsal space, performance venues or financial support to be able to produce quality theatre on a regular basis. I have personally benefitted from working in the independent sector and have learnt a great deal from the artists that keep our industry interesting and alive. Support independent theatre!

Badaidilaga Maftuh-Flynn

Josh Anderson: What’s the thing that lead you to acting?
Badaidilaga Maftuh-Flynn: I was always on and off with acting as a child and originally wanted to be a scientist… it wasn’t until I was 16 that I auditioned for a program called The Bridge Project with THEATREINQ, a local theatre company in my home town of Townsville, that I fell in love with the craft. Run by artistic director Terri Brabon and actor Brendan O’Connor they showed me what it was to build a career, company and most importantly a family in this industry. They both are my biggest inspirations.

What’s something about you that surprises people?
I have lived all over Australia and spent the majority of my childhood moving and living in cars, caravans, houses, tents you name it. I have attended 9 schools including a Steiner school, was home schooled and have lived in upwards of 90 houses.

If you had one superpower, what would it be and what would you do with it?
Time travel for sure! I am a big doctor who fan… I would never change, only observe – I am a traveller at heart.

What’s the closest brush with the law you’ve had?
I remember one time I was living in Darwin, a housing commission complex in Litchfield court – very rough place. Street kids, lots of drugs and crime so police where a regular occurrence. I got into a fight with one of the other local kids who was bullying me and I ended up throwing a lemon at him and knocking him off his bike as he tried to get away. The police came and gave us both a stern warning and said if it happens again they would come back and drag us away by our hair… we were around 8.

Would you rather a face made of tongues or arms made of eyes (tongues and eyes are functional)?
Arms made of eyes! There is no way I would want to walk around with exposed tongues all over my face… Imagine if someone coughed on you – plus your range of sight would be incredible

Josh Anderson and Badaidilaga Maftuh-Flynn are appearing in Cage, by Jordan Shea, part of the Freshworks season at Old 505 Theatre.
Dates: 27 February – 3 March, 2018
Venue: Old 505 Theatre

5 Questions with Tony Barea and Casey Richards

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Tony Barea

Casey Richards: What excites you most about being a part of this production?
Tony Barea: The opportunity to demonstrate how I have grown as an actor over the last three years since joining The Actors Pulse is very exciting. To be able to stand in front of an audience and tell a story through the eyes of such a rich character – one that has been played by the likes of Al Pacino – is a challenge that I feel I’m more than up for, and only adds to the excitement. And some nerves too!

What has brought you to the theatre?
A love of storytelling which until recent years was confined to my other passion, writing. It was in fact a case of writer’s block which led me to explore other avenues of creativity and manifested with actor classes and a newfound love for the theatre.

Favourite line in the play?
My favourite line would have to be “You stupid fucking c…..t” No line in the play demonstrates more clearly the world that these characters live in. The vulgarity and the depths to which they will sink to in order to make a sale, and the reaction when things don’t go to plan. So much is revealed about Roma’s world from this line and the ensuing monologue. I’m really looking forward to bringing my own flavour to it.

Fun fact about you?
I ran petrol stations for 10 years prior to taking up acting. Who would have thought?

What excites you about the staging of this play?
The staging of the first act in the bar next door, the gender swap of some of the characters, the fact that it is the first time on the stage for some of us, all add to the excitement of staging this play. And of course not to mention that we are all fellow students at The Actors Pulse

Casey Richards

Tony Barea: What do you like most about playing your character?
Casey Richards: It would have to be the challenge of receiving all my moments. With a smaller speaking role I have to make sure that my behaviour is on point and that I am constantly in the moment both giving and receiving.

What do you approach first when you pick up a script?
What is my character’s purpose? Why does he even exist? It’s an exciting journey of discovery. One which then involves sharing those discoveries.

If you could work with any actor in the world who would it be?
Robin Williams or Heath Ledger. Both had amazing talent that they were able to share with the world. Whilst I won’t be able to work with either, growing up with them as an influence on me is a source of deep inspiration, which I hope to one day emulate.

What made you want to do acting?
Originally it was just for fun. I love watching behind-the-scenes cuts from movies and it just struck me that it looked like a heap of fun. I have since discovered that the art of storytelling and connecting to people is what I enjoy most.

Does the character that you play bare any similarities to you?
It does. Initially it was a little difficult as my character is much older than me, but as I have dug deeper I have continued to find parts of myself that are in alignment with the character. I feel that I will continue to discover more with each rehearsal leading up to the performances and I’m looking forward to that.

Tony Barea and Casey Richards can be seen in Glengarry Glen Ross, by David Mamet.
Dates: 23 February – 3 March, 2018
Venue: The Actors Pulse