ON STAGE The Summer 2005 newsletter of Vol.6 No.1 Have we found it? When offered the opportunity to be directly involved in the new musical production, Eureka, Darien Sticklen found himself asking with many others: Might this be the one? ow many of us over the years about five years—and list the creative team, have wanted to see a truly including Gale Edwards (directing and Horiginal Australian musical make co-authoring a new book with John it to hit status? Countless numbers have Senzcuk), Max Lambert and Michael Tyack tried. Here are selected extracts from (music), Peter England and Gabriella Darien Sticklen's Eureka Diary… Coslovich (set and costume design), Tony March 2004 Bartuccio (choreography) Trudy Dagleish (lighting design)…a talented team indeed. Seemingly out of the blue, I’m given a They’ve just had a workshop of the message that Simon Gallaher would like me new Act I script in Sydney and are to call him. After days of phone tag, we also planning a workshop of Act II finally speak. there in July, before rehearsals start. Simon wonders what my work schedule Their enthusiasm for the new is like in the later part of this year but is musical is infectious, of course. I very mysterious about the ‘acorn of an make it clear that I am not available idea’. Eventually he explains that on behalf during the Act II workshop period— of the producers of Eureka, he wants to this is not seen as a ‘deal- know if I’d be interested in taking the role breaker’. of resident director. I am intrigued, but I’m My first question is: very busy with various projects on the boil why do they want me, and looming, and hesitant to make any in particular, for kind of new commitment. his role? Weeks zoom by; another exchange of This is answered messages—could I meet Simon and Michael obliquely by the Harvey (composer and co-producer) as they suggestion that will be in town the following weekend? I’m not seen as Sunday, 18 April 2004 a ‘lightweight’. I meet Simon and Mike at their hotel the My next morning after the well-received opening of question is: how The Producers at the Princess Theatre (the does Gale feel Australian première of an American about my musical) and join them for yum cha at a potential restaurant in Melbourne’s Chinatown, near appointment to Her Majesty’s Theatre. this role? If I were in her They explain something of the history position, I’d certainly want of the new work—it’s been in gestation for some input into this aspect. * Simon suggests that I e-mail her in It seems she’s very busy too. a good belly laugh, and a smattering of, July 2004 Jean Burke, Simon’s friendly and charming themselves: is the storytelling clear? How well, vulgar humour. I remind myself that administration manager, introduces herself. London; he’s already sent her a publicly After a matter of days Simon advises My hectic workload doesn’t let up. My could this or that element be more effective? this is the current incarnation of the We’ve spoken on the phone; it’s a delight to available version of my résumé. (Simon that he’s spoken with Gale; he would like partner and I are seeing little of each other; Meanwhile the cast are wondering if Australian audience that flocked to the meet her in person. I walk up the street to a works fast, I gather). to contract me. Over several days we I’m so blessed and fortunate to have such their favourite line, scene or song will make Tivoli over many decades, the audience for dusty little inner-Sydney park and make I receive a copy in the mail of the draft negotiate. I’m aware that such negotiations an understanding and supportive person in it through the cuts to the next draft. Roles popular culture which still tunes in to the some work phone calls that I’d been script, and a work-in-progress recording of are likely to be still under way with many my life. After one of the most challenging that seemed large and substantial have present day equivalent (whatever that may wanting to make anyway, to ease my mind. the music. When I can eventually set aside of the cast, production team, and so on. production weeks I’ve ever experienced diminished and in some cases disappeared be) on television. Fortune smiles (has somebody pulled some some time, one evening I sit down and More weeks pass. (for one of the other major projects I’ve altogether, while others are built up. It is After the formalities I chat with a strings?) and the room is ready a little earlier read through the entire show. First A contract arrives. I consult further been working on) and an average of 2–3 rather nerve-wracking, but also exciting, as friendly older woman who is looking to than expected. A brief rest works wonders impressions: while obviously still imperfect, with colleagues (e.g., can my wonderful hours sleep per night over that period, on a new work evolves. of refreshment. this strikes me as strong music theatre writing team manage the workload of the many bring a social group to the show—‘I reckon On the final afternoon of this workshop Friday 30 July I board a very early flight to I arrive shortly before the scheduled and a good yarn—I am moved and engaged. other major projects we have on if I’m going you’re on a winner’, she says. period, Gale suggests a full read and sing- Sydney to attend the last two days of the time and this time there are people there! There’s humour—what a relief! There is to be absent for a substantial slab of time Friday, 25 June 2004 second Eureka workshop. It’s great to see some familiar faces through of both acts rather than just Act dramatic tension, certainly. Some of the from mid-August onwards?—what’s Gale A final round of auditions is being held for I arrive at the rehearsal venue about 10 including the wonderful Nancye Hayes, Two. The result is very encouraging, characterisations are drawn in what could Edwards really like to work with?—et cetera). a couple of roles still to be cast, in one of minutes before the scheduled call time—it Peter Carroll, Amanda Muggleton, Barry although the creative team is aware that be described as Dickensian colour and A major production of a new Australian the ancillary rooms at Her Majesty’s. appears deserted—when I’m told that the Crocker, Ian Stenlake, Rachael Beck, and much is still to be done. dimension. There are some especially musical doesn’t happen here that often. Pauline Whyman impresses among call time’s been changed to the afternoon. new faces who’ll also prove themselves fine As well, much will be revealed about strong female roles—hooray—as well as When offered the chance to be involved, those auditioning for Kyeema, the (I could have caught a much later flight!). talents, including Simon Gleeson and Tricia what works and what doesn’t only when the meaty roles for a variety of men. The those of us who are enthusiastic about indigenous storyteller who opens and I’m too tired to be really cross and just long Crowe...I am made to feel most welcome rehearsal process proper begins and the characters of Long Tu (emblematic of the music theatre tend to become rather excited. closes the piece, and appears throughout as to lie down. I taxi to the hotel, which is in a and sense a very positive spirit. show is really put on its feet. Chinese presence on the goldfields) and I take a deep breath and sign the contract. a key character. quiet, pleasant corner of Chippendale. It is a The workshop process is critical for the It is good for these actors to be in work, Kyeema, an indigenous female character Monday, 1 June 2004 [Pauline will later be cast in the role, lovely, sunny Sydney day. A little respite development of a new and complex work. and to be working with Gale, who is fiercely who opens the show and is threaded from the Melbourne chill is welcome. So often this process is truncated due to The group bookings launch is held at Her which will evolve to become Kardinia.] protective and supportive of her actors. She through it, read on the page as much more I meet Simon and Mike having tight budgets. Majesty’s Theatre. A sea of faces: such a I meet Gale and chat with her briefly is highly regarded as an actors’ director. than token gestures. breakfast in a nearby café. They welcome Thanks to the insistence of Gale and the crowd that it’s only afterwards I realise that between the audition appointments—Simon The producers shout the hard-working As I read, these characters emit that me warmly. Blearily I relate what’s generosity of the producers and backers, there have been so many people present and Mike take us for a quick lunch—there cast and creative and stage management thrilling potency that, as I learned long ago, happened with the rehearsal schedule. Eureka has had a two-week workshop of who I know but don’t even see, let alone are some issues to be resolved about teams a drink to mark another milestone in play texts can contain; they cry out to be There appear to be some communication Act I earlier in the year, involving in most speak to.