INTO THE WOODS

Arts Centre Melbourne19-26 July 2014

Music and lyrics bySTEPHEN SONDHEIMBook by JAMES LAPINE

This is the second part of Victorian Opera’s Sondheim trilogy, which began so auspiciously last year with Sunday in the Park with George.

Bruno Bettelheim’s The Use of Enchantment, a 1976 book in which the now controversial author analysed traditional fairy tales in Freudian terms, provided a useful point of departure for Stephen Sondheim and James Lapine in their great work for the stage. However, Into the Woods is far more than a one dimensional re-rendering of fairy tales with a Freudian fl avour. It uses a theatrical process of exploring ambiguity, to create ever-changing horizons of meaning. Continually shifting perspectives on the well known characters of Grimm’s fairy tales reveal many possibilities, contradictions and ironies which succeed each other in the dazzling variety of the plot and its apparently zany causality.

Artistic Director’s Message

This piece, like all great works, has at its centre profound insights into the intractable and complex realities of our human experience, expressed on the language of fable – on one level communicating with folkloric immediacy, on another exploring the darker signifi cance of fairy tale situations often altered by the random and unexpected – like the sudden death of the cow Milky White and the changing romantic allegiances of the Princes.

Sondheim and Lapine have represented life in its glorious complexity, frequent abnormality and moral ambiguity. Indeed, “Sometimes the things you wish for are not to be touched”, “The prettier the fl ower, the further from the path”, and also – “nice” is not the same as being “good”. At the conclusion of the evening we can certainly grow into a new understanding of the line “Isn’t it nice to know a lot? And a little bit not.”

This is a piece of ensemble theatre – in the capable hands or our great team of ensemble artists – each an individual gem, yet able to sparkle as a brilliant constellation of jewels masterfully assembled. Casting the light on this constellation is our talented creative team.

Please remember that “even fl owers have their dangers” – but still enjoy.

- Richard Mills, Artistic Director

Richard Mills / ARTISTIC DIRECTOR'S MESSAGE

The works of Stephen Sondheim enjoy a devoted cult following. By his own admission he has never been a creator of box offi ce smash hits mainly because he fi nds his inspiration in the unexpected and the complex. Rather than taking us on a predictable journey Sondheim instead relies on his audience’s ability to uncover the layers of meaning contained within his works.

This brilliant fairy tale mash up by James Lapine contains powerful messages of desire, consequence, emotional growth and the complex nature of family relationships. As both composer and lyricist Sondheim makes a fascinating study into the connection between text and music. Usually music for stage works is composed in response to text, but it’s obvious to me that he often crafts both simultaneously, a quite unique creative process. The result is an advanced level of invention of both these key elements, which makes the piece both challenging and rewarding.

Conductor’s Message

Sondheim cleverly brings cohesion to the multiple overlapping plot lines by using a recurring fi ve-note theme as the backbone of the work. We fi rst hear it underscore the Witch’s curse, then more obviously as Rapunzel’s tune. It reappears in many contexts throughout, mutilated into dissonance for the Witch and hidden within or beneath melodies during songs such as ‘Giants in the Sky’, before ultimately fi nding its resolution in ‘No One is Alone’.

The song-driven score throws us into suspense immediately with unresolved block chords punctuated by sudden and unexpected low stabs. The immense amount of detailed text is framed by music of multifaceted genius. It is the creation of a master storyteller able to capture the comic, dramatic, poignant, clever and terrifying moments with superlative timing.

It has been a joy to work on this production with the stellar cast and creative team led by a superb Sondheim interpreter - director Stuart Maunder. I wish you all a wonderful ‘Once Upon a Time’ at the theatre as we take a journey together – Into the Woods!

- Benjamin Northey, Conductor

CONDUCTOR'S MESSAGE / Benjamin Northey

Stuart Maunder / DIRECTOR'S MESSAGE

"If you want your children to be intelligent, read them fairy tales. If you want them to be more intelligent, read them more fairy tales… the gift of fantasy has meant more to me than any talent for abstract, positive thinking." Albert Einstein.

When those magical words ‘Once Upon a Time’ are uttered we know we are in for a ride, possibly a ride with a moral, maybe a bloodthirsty or magical ride but certainly a ride where all end up ‘Happily Ever After’. And no matter how old, how experienced, how jaded one has become the frisson created by those words remains.

But what happens after ‘Happily Ever After’?

Into the Woods is bookended by those simple words: "I wish". Every character wishes for something: a child, some milk from a barren cow, to go to the Prince’s Festival, to be lucky in love, to have a good meal, to go see Granny. And all the characters lie, cheat and do whatever is necessary to get their desire.

Director’s Message

But once the wish is granted, what then?

In Act Two all of the characters are sent back to the Woods. In Sondheim’s words: "Ah, the woods. The all-purpose symbol of the unconscious, the womb, the past, the dark place where we face our trials and emerge wiser or destroyed…" By losing themselves in darkness, our friends fi nd strengths and talents they never knew they had. We learn one must deal with the consequences of getting one’s wish, and what is more, dealing with it as part of a society. We are all responsible. We must teach our children, but we are warned that ultimately they will grow up exactly like us, make the same mistakes, have the same fears. But they too will discover truths in themselves and therefore live happily ever after.

Or will they?

"I wish" says Cinderella as the fi nal statement of the night.

- Stuart Maunder, Director

Welcome to Victorian Opera’s second mainstage presentation for 2014.

Sondheim’s Into the Woods is a work which explores the twin concepts of consequence and ‘Happily Ever After’. It’s a fascinating show that interweaves so many tales you thought you knew (including some of the more macabre elements of the Grimm fairy tales) into a happily ever after which is so convincing that many people in the premiere season left at interval believing the performance was over. Of course, in this work happily ever after is really just thebeginning of the story!

The team at Victorian Opera are delighted to welcome back Stuart Maunder (Sunday in the Park with George) to direct this production and we also congratulate him on his recent appointment as General Director of New Zealand Opera. Stuart and our Executive Producer, Libby Hill, have assembled a truly stellar cast for this production; one which would grace any stage in the world.

Managing Director’s Message

There has been much media coverage recently concerning the upcoming Disney fi lm version of Into the Woods, featuring not only Meryl Streep and Johnny Depp, but also a reportedly large number of changes to both the original score and James Lapine’s libretto. How much of this is true we will have to wait until the fi lm’s release on Christmas Day 2014 to see, but suffi ce it to say that what you will see tonight is the full, original, unadulterated version!

As an opera company the idea of consequence often features in our planning and decision-making processes. Already this year we have seen the highest average audience numbers for any opera in our history (La traviata), and a sold-out season of our family adaptation of Hansel and Gretel. I like to think that this demonstrates that we have a track record of good decision-making and that the consequences of those decisions lead to the happily ever after you and I desire so much.

- Andrew Snell, Managing Director

MANAGING DIRECTOR'S MESSAGE / Andrew Snell

To those that so generously donated to our annual giving campaign – you have made our wishes possible.

Peter Allan • Ian Baker & Cheryl SaundersLesley M Bawden • David Beauchamp & Lyn HowdenTony Berry • Helen Blackwell • Luca & Ira BrazilJess Brooke • David Byrne • Dr Brian Carey • Ben Chodziesner Tanya Costello & Peter Costello AC • Catrionadh Dobson & Charles Windeyer • Dr M Elizabeth DouglasCaroline & Ben Droscher • Elizabeth Duffi eld • David Forrest Nance Grant AM MBE • WH & A HuffamDavid C Jones AO OBE KSJ • Angela Kayser • Irene KearseyRod & Daniele Kemp • John and Lynne LandyR. Lansdowne • Peter Lovell • Kaye E. Marion • I. F. MerryleesGreg Noonan • Mr Patrick O'Duffy • Jillian PappasRosia Pasteur • Prof John Poynter AO OBEJudith Robinson & Michael Robinson AOSteve Rodgers-Wilson & Di Palmer • Judith RodriguezDr Paul & Mrs Gay Rosen • Phillip SchudmakLesley Skinner • Professor Elsdon & Mrs Christine StoreyStephen Stuart • Caroline Travers • Peter TregearIan A. Watts • Anonymous (62)

Donations from individuals play a very important part in the life of Victorian Opera and to have your support is extremely valuable to us. We deeply appreciate your generosity as it ensures that the company’s work, both on and off the stage, will thrive.

Thank you!

INTO THE WOODS19 - 26 July 2014Arts Centre Melbourne, Playhouse

Music and lyrics by Stephen SondheimBook by James Lapine

Originally Directed on Broadway by James Lapine

By arrangement with Hal Leonard Australia Pty Ltd Exclusive agent for Music Theatre International (NY)

Original Broadway Production by Heidi Landesman, Rocco Landesman, Rick Steiner, M. Anthony Fisher, Frederic H. Mayerson, Jujamcyn Theaters

Originally produced by The Old Globe Theatre, San Diego, Ca.

First performed in 1986, San Diego.

Running time approximately 2 hours 50 minutes including one interval.

CREATIVE TEAM

Conductor Benjamin NortheyAssistant Conductor Phoebe BriggsDirector Stuart Maunder AMAssistant Director David SpencerSet Designer Adam GardnirCostume Designer Harriet OxleyLighting Designer Philip LethleanSound Designer Jim AtkinsProduction Manager Michele BauerStage Manager Andrea CorishAssistant Stage Managers Jessica Penny

Luke HalesPrincipal Repetiteur Phoebe BriggsRepetiteur Phillipa Safey

ORCHESTRA VICTORIA

Concertmaster Erica KennedyViolin 2 Rachel GamerViola 1 Jason BunnViola 2 Raymond HopeCello Diane FroomesDouble Bass Stuart RileyFlute Lorraine BradburyClarinet Paul ChampionBassoon Lucinda CranHorn 1 Anton SchroederHorn 2 Heather McMahonTrumpet Mark FitzpatrickPercussion Conrad Nilsson

PRODUCTION INFORMATION / Into the Woods

CAST

Narrator/Mysterious Man John DiedrichCinderella Lucy MaunderJack Rowan WittJack's Mother Melissa LangtonBaker David HarrisBaker's Wife Christina O'NeillCinderella's Stepmother Antoinette HalloranFlorinda Elise McCannLucinda Angela ScundiCinderella's Father/Steward David Rogers-SmithLittle Red Ridinghood Josie LaneWitch Queenie van de ZandtCinderella's Mother/Granny/Giant Noni McCallumWolf/Cinderella's Prince Matthew McFarlaneRapunzel Olivia CranwellRapunzel's Prince Jeremy Kleeman

ACKNOWLEDGEMENTS

Cassie Arnold for special props, Crack-A-Jack Fireworks, CVP, Justin Green from Justimagine Productions, Malthouse Theatre, MTC, Norwest, Resolution X, Reveal Productions, Scenic Studios, Show Technology.

Into the Woods / SYNOPSIS

SYNOPSIS

ACT ONE

When the Baker and his Wife learn they've been cursed with childlessness by the Witch next door, they embark on a quest for the special objects required to break the spell. They must bring the Witch a cow as white as milk, a cape as red as blood, hair as yellow as corn and a slipper as pure as gold. By swindling, lying to and stealing from Cinderella, Little Red Ridinghood, Rapunzel and Jack (the one who climbed the beanstalk), they procure these objects, and the Witch breaks the spell. Each character is, in turn, on their own quest for their “Happy Ever After”.

Cinderella and Rapunzel are united with their Princes, Jack is reunited with his cow Milky White, and he and his mother become wealthy after he steals the Giant’s gold. Little Red Ridinghood has become fi erce and bloodthirsty, replacing her red cloak with the skin of the Wolf.

As everyone congratulates themselves on their unswerving determination to get their wishes, a giant beanstalk emerges from the ground and stretches to heaven.

ACT TWO

While the characters seem outwardly content with their situation, they remain unfulfi lled.

A Giant disturbs the peace, and causes havoc and destruction – it is the wife of the giant Jack killed. She has come to exact revenge and demands Jack be handed over to her. Everyone blames everyone else for their predicament, and argues about who should be sacrifi ced to the Giant.

After much confusion and chaos, the remaining characters work together to conquer the Giant.

The community joins together in a pronouncement of the moral lessons learned from their experience in the woods.

Synopsis compiled from Music Theatre International Into the Woods Detailed Synopsis.

Illustration: Harriet Oxley

Illustration: Harriet Oxley

PROGRAMNOTESINTO THE WOODS

Stephen Sondheim, to many the undisputed living god of the American musical, has a reputation. In fact he has several. To some, from Saturday Night (1953) to Road Show (2008), he has systematically dismantled the sacred blueprint for the much-loved Broadway show. Worse, to the ears of others, he’s committed the cardinal sin of sacrifi cing memorable melody to musical ingenuity – an accusation that Sondheim himself sends up in Merrily We Roll Along when the philistine producer knocks the idealistic Broadway wannabes, decrying “there’s not a tune you can hum – there’s not a tune you go bum-bum-bum-di-dum”. As lyricist for West Side Story, however, and composer of hits like Comedy Tonight, Send in the Clowns and Sooner or Later, it’s clear that he has always had a more populist side, and that element resonates loud and clear in Into the Woods, his second collaboration with writer/director James Lapine.

The year after Sunday in the Park with George won the Pulitzer Prize for Drama in 1985, Sondheim and Lapine began workshopping their new show.

The ideas behind Into the Woods had fascinated Sondheim for years. A complex riff on family, choices, and the consequences of our mistakes (regret being a recurring Sondheim theme), fairy tales are used to refl ect on the realities of life after ‘happily ever after’. The concepts of child psychologist Bruno Bettelheim (whose essay “Let’s Go Into the Woods…” gave the musical its title) can be detected. There’s a strong Freudian aspect of awakening sexuality and loss of innocence throughout. Sondheim accepted a personal dimension too, when he admitted to Time Magazine that the “father uncomfortable with babies [was] his father, and [the] mother who regrets having had children [was] his mother.” But Into the Woods is much more than one man’s unhappy childhood.

A familiar cast – Cinderella, Little Red Ridinghood, Jack (of beanstalk fame) etc. – pass by with dazzling rapidity. Sondheim and Lapine consulted the Brothers Grimm and Perrault’s Mother Goose to incorporate darker elements missing from today’s children’s books – thus Cinderella’s stepsisters go through gory amputations to render their feet small enough for the glass slipper and ultimately have their eyes pecked out as punishment for their wickedness.

The 23 characters draw many conclusions and morals – wishes are children; nice is different than good; careful the things you say, children will listen – and their stories are intricately bound together in the manner of a complex cryptic crossword, such as those Sondheim contributed to the New

PROGRAM NOTES / Into the Woods

York Magazine in the late 1960s. When he wrote of them: “This kind of puzzle offers cryptic clues instead of bald defi nitions, and the pleasures involved in solving it are the deeply satisfactory ones of following and matching a devious mind”, he might have been addressing the interweaving plotlines of Into the Woods.

Musically, if A Little Night Music is Sondheim’s homage to the Brahms of the Cello Sonatas and the Liebeslieder Waltzes, then Into the Woods is his love letter to France and the music of Milhaud, Poulenc and especially Ravel’s Mother Goose (itself inspired by Perrault). As in many of his later works, (Sweeney Todd, Merrily We Roll Along, Sunday in the Park with George), Sondheim uses musical cross-references and leitmotifs in a far more sophisticated manner than his Broadway contemporaries were doing at the time.

That sophistication explains why many of his works have proven fertile ground for opera companies. Sweeney Todd was soon picked up, recognised as requiring special skills to realise its technical and vocal demands – Bryn Terfel is a noted Sweeney. English National Opera scored a hit with Pacifi c Overtures in 1987 and this year Paris’s Châtelet staged Into the Woods. Victorian Opera tackled Sunday in the Park with George last year to considerable acclaim and Artistic Director Richard Mills is evangelical that opera companies can rehabilitate forgotten Broadway masterpieces. Not for him though, The King and I or South Pacifi c. Mills prefers the merits of Kurt Weill’s Lady

in the Dark or Rodgers and Hammerstein’s Allegro – works beyond the scope of most musical theatre companies and unlikely to attract the attention of commercial producers. Only this month in Limelight he advocates Regina, Marc Blitzstein’s jazz-infused version of The Little Foxes as a work of populist substance.

Unusually for a Sondheim show, Into the Woods debuted in San Diego in 1986, making it to Broadway the following year. It garnered ten Tony nominations and trounced Phantom of the Opera for Best Score. Since then it has conquered the world, winning fans well beyond the usual Sondheimite intelligentsia via productions in London’s West End, Sydney (1993), Melbourne (1998) – even Singapore and Puerto Rico! This year will see the much-hyped Disney adaptation starring Meryl Streep and Johnny Depp. It may well claim to be Sondheim’s most popular work – certainly it’s among his most accessible, with its basis in familiar stories and, yes, even a vein of sentimentality rare in this most cerebral of music theatre geniuses.

Clive Paget is Online and Deputy Editor for Limelight Magazine.

Into the Woods / PROGRAM NOTES

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Illustration: Harriet Oxley

BIOGRAPHIES / Creative & Cast

BENJAMIN NORTHEY Conductor

Since returning permanently to Australia in 2006, Benjamin Northey has led many opera and ballet productions including L’elisir d’Amore, The Tales of Hoffmann and La Sonnambula for State Opera of South Australia and Carmen, Don Giovanni and Cosi fan tutte for Opera Australia.

In 2010, Northey conducted a major programme with the London Philharmonic Orchestra at Festival Hall and made his debut with London’s Southbank Sinfonia. Currently Associate Conductor at the Melbourne Symphony Orchestra, Northey’s future engagements include concerts with all of Australia and New Zealand’s major symphony orchestras as well as appearances in Hong Kong and Japan.

PHOEBE BRIGGSAssistant Conductor

Phoebe completed a Bachelor of Music at the University of Melbourne. She was a member of the Opera Australia music staff between 2002 - 2012 and in October 2012 was appointed Head of Music at Victorian Opera. Phoebe was conductor for Victorian Opera’s 2013 production of Sunday in the Park with George, Opera in the Paddock (Opera Northwest) and was assistant/cover conductor for Don Pasquale (IFAC/Opera Australia, Tokyo), The Magic Flute, The Merry Widow, Die Fledermaus, The Pearlfi shers, Così fan tutte, A Little Night Music and The Mikado (Opera Australia) and Guys and Dolls (Ambassador Theatre Group).

STUART MAUNDER AMDirector

Stuart made his Victorian Opera debut with Sunday in the Park with George in 2013. For the last thirty years he has been directing musical theatre and opera. He is currently General Director for New Zealand Opera. He was Artistic Administrator of Opera Australia from 1999 - 2003 and Executive Producer 2004 -2008 directing A Little Night Music, My Fair Lady, Tales of Hoffmann, Manon, Pirates of Penzance, HMS Pinafore, Trial by Jury, Gypsy Princess, Don Pasquale, Iolanthe and Romèo et Juliette. Music Theatre credits include Dusty, Shout! and Little Women.

BIOGRAPHIES

Creative & Cast / BIOGRAPHIES

DAVID SPENCERAssistant Director

David is a graduate of the National Theatre Drama School (Music Theatre). He has appeared in numerous musicals including Priscilla Queen of the Desert, Mary Poppins, Chicago, Carousel, Fiddler on the Roof, Pippin, The Producers, Mame, The Pajama Game, Eureka and Flowerchildren. He co-wrote a sell-out season of the cabaret, I’m Playing Me at the Butterfl y Club and was recently Resident Director and Puppeteer for the national tour of Peppa Pig Live.

ADAM GARDNIRSet Designer

A graduate from the Victorian College of the Arts, Adam's operatic designs began with OzOpera co-productions. Subsequently, his Victorian Opera designs include Rembrandt's Wife (Green Room Nomination), The Bear, Angelique (Green Room Award), Albert Herring, Master Peter's Puppet Show and What Next? Adam's musicals include Gypsy, The Producers and Anything Goes for the Production Company and the world premiere of Cat Steven's Moonshadow. He has designed for The Australian Ballet, Melbourne and Sydney Theatre Companies, Belvoir, Channel 9 and White Night and has received scholarships from VCA and Malthouse Theatre.

HARRIET OXLEYCostume Designer

Harriet studied fashion design at RMIT and theatre design at VCA. In recent years she has designed for Gideon Obarzanek’s L’Chaim for Sydney Dance Company (Interplay, 2014) A Small Prometheus by Stephanie Lake and Robin Fox (Melbourne Festival 2013), Moonshadow the Musical (2012), Assembly for Chunky Move and Victorian Opera (2011). Her design for Angelique for Victorian Opera was the winner of the Green Room award for Design in Opera in 2010.

BIOGRAPHIES / Creative & Cast

OLIVIA CRANWELL Rapunzel

Olivia Cranwell is a graduate of the Master of Music (Opera Performance) program, run by Victorian Opera in partnership with the Melbourne Conservatorium of Music, University of Melbourne. Performances with Victorian Opera include Gossip (Angelique), Watkin Wombat/Rooster (The Magic Pudding – the opera), Celeste 1 and Waitress (Sunday in the Park with George), Puss (Puss in Boots), Queen Clementine (Sleeping Beauty), Clorinda (La Cenerentola), Robber Girl (Snow Queen), God (Noye’s Fludde) and the Gala Concerts 2012 and 2013 (Opera on a White Night). Other roles include Carmen (In Good Company); The Plaintiff/Angelina in Trial by Jury, Hebe in HMS Pinafore (Savoy Opera Company).

JIM ATKINSSound Designer

Jim Atkins has a long career in audio production with credits on over 100 major label CDs, including several Aria award-winning recordings. Jim worked with the ABC from the mid-seventies and has pursued a freelance career since 2010. Regularly working with the Melbourne Symphony Orchestra as sound designer and engineer, Jim was the sound designer for En Masse and 2011/2012 national tour of Namatjira. Recent Victorian Opera productions include Nixon in China and Sunday in the Park with George.

BIOGRAPHIES

PHILIP LETHLEANLighting Designer

Philip Lethlean’s designs can be seen in many parts of Asia, Europe and America including, theatre, stadiums, opera, dance, circus puppetry and architecture. Commissions include the Australian Pavilion at Expo Shanghai, How to Train Your Dragon for Dreamworks/Global Creatures (2012) and White Night Melbourne in 2013 and 2014. Theatre works include the English National Ballet, Opera Australia, MTC, Circus Oz, and the recent Mbantua Festival in Alice Springs. Into the Woods marks a continuing collaboration between Phil and Stuart Maunder, previously working together on the Australian National Day event in Shanghai and the opening of Hamer Hall in Melbourne 2012.

Creative & Cast / BIOGRAPHIES

ANTOINETTE HALLORANCinderella's Stepmother

Antoinette Halloran is one of Australia’s most accomplished and best-loved sopranos. She performs regularly with all the major Australasian opera companies and symphony orchestras and appears frequently on national television and radio. Since 2010, Antoinette has sung the title role in The Merry Widow for Opera Queensland, Mimi in La bohème, Cio-Cio-San in Madame Butterfl y and Rosalinde in Die Fledermaus for Opera Australia, Micaela in Carmen for State Opera of South Australia, the world premiere of Midnight Son for Victorian Opera and Cio-Cio-San for New Zealand Opera and Melbourne Opera.

DAVID HARRIS Baker

David Harris has become one of Australia’s most acclaimed leading men, being awarded a Green Room Award for Best Lead Actor in a Musical for his portrayal of Emmett in Legally Blonde and receiving Helpmann and Sydney Theatre Award nominations for his portrayals of Chris in Miss Saigon and Fiyero in Wicked. Other credits include; The Beast (Beauty & The Beast), Greg (Boy From Oz); Joe Hardy (Damn Yankees); John Brookes (Little Women); Perchik (Fiddler On The Roof alongside Topol); Malcolm (The Full Monty); and Jimmy Smith (Australian premiere of Thoroughly Modern Millie). David has toured the world with Michael Ball, Lea Salonga, and Stephen Schwartz, and has released two solo albums, 'Til The Night Is Gone and At This Stage.

JOHN DIEDRICH Narrator/Mysterious Man

John began acting professionally at age ten when he appeared in Camelot for J.C.Williamson’s. Since then he has performed in over 40 plays and musicals including Curly in Oklahoma, London and Australia, Guido in Nine, Javert in Les Miserables, Mack Sennett in Mack and Mabel, Billy Flynn in Chicago, London and Australia, Emile de Beque in South Pacifi c and Benjamin Stone in Follies. As a writer he penned and performed in two successful musical reviews, Gershwin and The Twenties and All That Jazz. He has directed and produced ten musicals most notably Minnie's Boys, Australia and London, Nine, South Pacifi c and Titanic.

BIOGRAPHIES / Creative & Cast

BIOGRAPHIES

MELISSA LANGTONJack's Mother

Melissa’s theatre appearances include: Jesus Christ Superstar, Les Miserables, The Pirates Of Penzance, The Mikado, Marry Me A Little, Eurobeat, We Will Rock You (Killer Queen) in Japan, The Threepenny Opera (Malthouse Theatre/Victorian Opera), Strange Bedfellows (Vonny) and How To Kill Your Husband (Angel - Victorian Opera) – for which she received a Green Room Award nomination for Best Female Performance in an Opera. For The Production Company: Carousel (Nettie Fowler), 42nd Street (Maggie Jones), Damn Yankees (Gloria Thorpe), Follies (Stella Deems), Crazy For You (Patricia Fodor) and Sugar (Sweet Sue). She has received two Green Room Awards for her cabaret shows, and is a member of the popular girl group The Fabulous Singlettes, performing regularly since 1998.

JOSIE LANELittle Red Ridinghood

Josie debuted in 2007 with Sydney Theatre Company, playing Marcy Park in The 25th Annual Putnam County Spelling Bee. Josie has also appeared in Priscilla Queen of the Desert - the musical (Back Row) as a Diva, Avenue Q (Arts Asia Pacifi c) as Mrs T/Bad Idea Bear, Fame (GFO) as Mabel Washington, Nick and Nora as Maria Valdez, Lucky Stiff as Dominique Du Marco (MGM Neglected Musicals) and The Pirates of Penzance (The Production Company) as Kate. Her cabaret show Josie in the Bathhouse premiered at the 2011 Adelaide Cabaret Festival and then played Melbourne’s 2012 Famous Spiegeltent season. She has also toured extensively with artist David Campbell as his backing vocalist.

JEREMY KLEEMANRapunzel's Prince

Bass-Baritone Jeremy Kleeman completed a Bachelor of Music at the Melbourne Conservatorium of Music in 2011, and in 2013 graduated from Victorian Opera and the Conservatorium’s collaborative degree, Master of Music (Opera Performance). For Victorian Opera, Jeremy has performed in La traviata, Games of Love and Chance (2014) and in 2013, as Albert the Pudding in The Magic Pudding – the opera and The Ogre in El Gato con Botas. He performed Colline in La bohème for Opera New England. Jeremy was a prize-winning fi nalist in the 2013 National Liederfest and the 2012 IFAC Australian Singing Competition, and is generously supported in 2014 by the Joseph Sambrook Opera Scholarship with the Melba Opera Trust.

Creative & Cast / BIOGRAPHIES

NONI MCCALLUM Cinderella's Mother/Granny/Giant

Noni McCallum studied Music Theatre at the Western Australian Academy of Performing Arts (2004) and more recently Improvisational Comedy and Musical Improvisation at the Upright Citizens Brigade in New York. Noni travelled the world as understudy to children's pop group Hi-5 and can be seen in Series 9 and 10 as Chatterbox and Jup Jup. Other credits include Minnie Fay, Hello Dolly (Magnormos 2011), Kate O'Hare, Transport (New Musicals Australia 2011), Frieda/Betty/Dot understudy, Sunday In The Park With George (Victorian Opera 2013) and Madam, Pacifi c Overtures (Watch This/Manilla Street Productions).

LUCY MAUNDER Cinderella

Lucy has worked extensively in theatre, musical theatre, cabaret and fi lm. Her most recent musical theatre appearances include: Rizzo in Grease (GFO); Gertrude Lawrence in Noël & Gertie (CDP), and her one-woman cabaret showcase to all things Irving Berlin - Songs in the Key of Black. Other credits include: Polly Peachum in The Threepenny Opera (Sydney Theatre Company/Malthouse); Side by Side by Sondheim (GPAC/Enda Markey); Carly in Neil LaBute’s Reasons To Be Pretty (Australian debut) at the Darlinghurst Theatre. For her performance in Doctor Zhivago Lucy was nominated for both Helpmann and Sydney Theatre Awards in 2011. Lucy appeared in ABC TV’s award-winning tele-fi lm The Eternity Man.

ELISE MCCANN Florinda

Elise graduated from NIDA in 2003. Theatre credits include Fruma Sarah in Fiddler on the Roof Australian Tour (TML); Camelot (The Production Company); My Fair Lady (Opera Australia); Little Women (Kookaburra); June in the musical spoof Musical of Musicals (the Musical) (Triptych Theatre); Ali in the 10th Anniversary Australian Tour of Mamma Mia! (LWA/Littlestar); The World Premiere cast of Doctor Zhivago the Musical (GFO/Skyline Theatricals); Imelda Thornton in On the Twentieth Century (Neglected Musicals); Side by Side by Sondheim (Theatre Royal); Janet McGregor in the Australian Tour of South Pacifi c (Opera Australia) and most recently Cordelia in Falsettos (Darlinghurst Theatre Company).

BIOGRAPHIES / Creative & Cast

BIOGRAPHIES

DAVID ROGERS-SMITHCinderella's Father/Steward

David is a highly regarded concert, opera and musical theatre artist having appeared as Piangi in The Phantom Of The Opera for Really Useful Company, as Jean Valjean in Les Miserables for Cameron Mackintosh, Canio in I Pagliacci, Pinkerton in Madam Butterfl y, Danilo in The Merry Widow, Don José in Carmen and as Faust all for Melbourne Opera and in principal roles in The Merry Widow and Funny Girl for The Production Company. Concerts include Barossa Festival, Australian Pops Orchestra, and Sydney Symphony Orchestra and a major music theatre tour of China during 2013. He made his Victorian Opera debut as Jules and Greenberg in Sunday in The Park With George during 2013.

CHRISTINA O'NEILLBaker's Wife

Christina is delighted to be performing with Victorian Opera again, having made her debut as Dot in Sunday in the Park with George last year. In 2013 she appeared in Gaybies (MTC) part of the Midsumma Festival, the Australian premiere of Straight (Red Stitch Actors’ Theatre) and Savage in Limbo (Workhorse Theatre Company). Other theatre credits include: The Motherf**ker with the Hat; Prodigal; Monty Python’s Spamalot; Priscilla, Queen of the Desert – the Musical. Christina toured in the hit production Avenue Q, winning a Helpmann Award: Best Supporting Actress 2010. Film/TV work includes: The Great Raid (Miramax); Best of British Comedy (Comedy Channel); Jeopardy (BBC); Mornings with Kerri-Anne (Channel 9).

MATTHEW MCFARLANEWolf/Cinderella's Prince

Matthew graduated from Western Australian Academy of Performing Arts in 2007. This is Matthew’s second appearance with Victorian Opera, having recently appeared in Sunday in the Park with George. Other stage credits include True Minds for the MTC, Danny in Grease and Nanki-Poo in The Mikado, both for the Court Theatre Christchurch, Phantom and Raoul understudy in Love Never Dies, Priscilla - Queen of the Desert the Musical, Damn Yankees, Guys and Dolls and FAME - The Musical for GFO. Matthew’s TV credits include The Dr Blake Mysteries, Blue Heelers and Neighbours.

Creative & Cast / BIOGRAPHIES

QUEENIE VAN DE ZANDT Witch

Known for her versatility as a performer, Queenie has worked extensively in musicals, plays, cabaret, on television, fi lm and as a recording artist, comedienne and writer. Queenie van de Zandt’s credits include: Face to Face, Women of Troy (Sydney Theatre Company), Smoke & Mirrors (Sydney Festival), Very Small Business, Da Kath & Kim Code (ABC 1), and musicals The Full Monty, Oliver! and most recently as Cassandra in the new Australian musical King Kong. She has also been nominated for 10 major theatre awards, including a Helpmann Award, and multiple Green Room and Sydney Theatre Awards, and has a cult following as her alter-ego - Jan van de Stool.

ANGELA SCUNDI Lucinda

Angela is an SDA graduate of NIDA (2006). Most recently she has been seen in the Australian and International tours of The Rocky Horror Show for GFO, TML and New Theatricals. For the Sydney Theatre Company Angela originated the role of Ilsa in Spring Awakening and performed the part of Suki Tawdry in The Threepenny Opera. For the Production Company highlights include roles in both The Boyfriend and The Producers. Angela also appeared as Cindy-Lou in The Marvellous Wonderettes for Monster Media and in No Regrets – A Tribute to Edit Piaf for Singtheatre (Singapore). Her theatre credits include Cherry in Cherry Smoke for Sol III Producitons. Angela can also be seen in the fi lms ELEVATE (Crystal Screen Productions) and I Love You Too (Princess Productions).

ROWAN WITTJack

Rowan's screen credits include Underbelly, Home & Away, The Matrix, Escape of The Artful Dodger, Little Blue, Somewhere in the Darkness, The Gruen Transfer, Adoration and a vast range of commercials. Rowan was also shortlisted for the role of Harry Potter. A graduate of the Sydney Conservatorium of Music, Rowan recently starred in Opera Australia's South Pacifi c, played Leaf Coneybear in The 25th Annual Putnam County Spelling Bee, Gussie Fink-Nottle in the Sydney premiere of By Jeeves, and was a special guest member of The Song Company during The Stockhausen Festival. Rowan is thrilled to be playing Jack in the musical that started his love for the genre.

THE RIDERSIain Grandage & Alison Croggon, based on the novel by Tim Winton

World Premiere23 September - 4 October 2014

A gripping portrait about the panic and terror of someone suddenly bereft of love.

Book NowThe Coopers MalthouseTickets $60, concessions available$30 tickets for 30 years & under03 9685 5111 (fees apply)victorianopera.com.au

The Riders is presented by Victorian Opera and Malthouse Theatre.

SELLINGFAST

THE BIG SING13 October 2014, 7.30pm, Hamer Hall

Featuring 'Toreador Song' Carmen, 'Soldier’s Chorus' Faust, 'Anvil Chorus' t Il Trovatore and 'Brindisi' La traviata.

Book NowArts Centre MelbourneTickets $25, concessions available1300 182 183 (fees apply)victorianopera.com.au

Join some of Melbourne’s unique community choirs,Orchestra Victoria and conductor Richard Mills for an unforgettable Big Sing with over 150 people on stage, performing opera’s memorable choruses.

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READ OUR BEHIND THE CURTAIN BLOG

Director Stuart Maunder gives an insight of the rehearsal process working with both musical theatre and opera singers. Clive Paget (Limelight Magazine) discusses Sondheim’s witty lyrics and compositions and why his work is suited to an opera company.

EXPLORE THE WORLD OF OPERA

Immerse yourself in the darkly enchanting world of Into the Woods, watch the behind-the-scenes video, see the beautiful costume illustrations by designer Harriet Oxley and fabulous hats (pictured) by Phillip Rhodes, download the programme, read reviews and more!

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This programme has been printed using vegetable based inks with alcohol free printing initiatives on 100% recycled carbon neutral paper by Printgraphics under ISO 14001 Environmental certifi cation.

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VICTORIAN OPERA / Patrons

FOUNDING PATRONS The Late Dame Elisabeth Murdoch AC DBELady Potter AC

PATRON IN CHIEFThe Honourable Alex Chernov AC QC, Governor of Victoria

VICTORIAN YOUTH OPERA PATRONBetty Amsden AO

LIVING BEQUESTSusan Harley

ARTISTIC DIRECTORS CIRCLE ($10,000+)Deanne Bevan & Guy RussoRob & Caroline ClementeWilliam J Forrest AMJohn & Diana FrewMrs Jane HemstritchHans & Petra HenkellPeter & Anne Laver Lady Southey ACAnonymous (1)

EDUCATION SYNDICATE ($5,000+)Betty Amsden AOHans & Petra HenkellDr John & Elizabeth Wright-Smith

NEW WORK SYNDICATE ($5,000+)Beth Brown & Tom Bruce AMMarian & Ken Scarlett OAMJoy Selby SmithFelicity Teague

DIAMOND PATRONS ($10,000+)Betty Amsden AOThe Late Dame Elisabeth Murdoch AC DBE

PLATINUM PATRONS ($5,000+)Neilma GantnerGreg Shalit & Miriam FaineAnonymous (1)

GOLD PATRONS ($2,500+)Bruce CurlCraig D'Alton & Peter SherlockPeter & Jenny HordernSue KirkhamKaye E MarionJudith RodriguezJohn & Elisabeth SchillerTim & Lynne Sherwood

SILVER PATRONS ($1,000+)Dr Rosemary Ayton & Dr Sam RicketsonIan Baker & Cheryl SaundersLaurie Bebbington & Elizabeth O’KeeffeProfessor Simon Bell & Dr Jennifer Coghlan-BellKirsty BennettBeth Brown & Tom Bruce AMBuckett FamilyDavid ByrneTerry & Christine CampbellLynda CampbellTanya Costello & Peter Costello ACMary Davidson & Frederick Davidson AMJohn Drury & Dianne Reilly Drury AMStephanie DundasGareth & Merran EvansRosemary Forbes & Ian HockingGreig Gailey & Geraldine LazarusBob GarlickJohn & Gaye GaylardBrian GoddardAnthony Grigg & Paul WilliamsonStuart & Sue Hamilton

VICTORIANOPERA PATRONS

Patrons / VICTORIAN OPERA

Geoff & Anthea HoneStewart & Denise JackelSimon L Jackson & Brian WarburtonStuart T JenningsDavid C Jones AO OBE KSJRod & Daniele KempIan Kennedy AM & Dr Sandra Hacker AOJohn & Lynne LandyKwong & Joanne Lee DowJoan & George LefroyAnne LiersePeter LovellProfessor John Lovering AO

& Ms Kerry Lovering OAMMargaret Mayers & Marie DowlingDuncan & Lorraine McGregorI. F. MerryleesDr Ken & Mrs Lesley MuirdenRuth & Tom O’DeaJillian PappasJane Patrick & Robert EvansDimity ReedMichael RiggJudith Robinson & Michael Robinson AOElžbieta & Tomasz RomanowskiJoseph Sambrook & Mary-Jane GethingSchapper Family FoundationAubrey G SchraderPhillip SchudmakBernadette SlaterCaroline TraversLiz & Peter TurnerCatherine Walter AMAndrea WaltonEarl & Countess of WiltonAnonymous (6)

BRONZE PATRONS ($500+)John & Nancy BomfordJasmine BrunnerPam CaldwellJune DanksDeloitteCatrionadh Dobson & Charles WindeyerDr M Elizabeth DouglasJean DunnDennis FreemanNance Grant AM MBELesley Griffi nJill & Robert GroganApril HamerAngela KayserDavid & Barbara McSkimmingDouglas & Rosemary MeagherAnn MillerGreg NoonanMr Patrick O'DuffyKenneth W ParkLynette PayneJohn RickardMary RyanJohn & Thea ScottMr Sam Smorgon AO & Mrs Minnie SmorgonLiz & Hugh TaylorNeil TwistCaroline VaillantRussell Waters & Marissa Barter-WatersIan A WattsAnonymous (11)

If you would like to get more involved in the work of Victorian Opera through our individual giving program please contact Catrionadh Dobson, Individual Giving Manager on 03 9001 6405

or catrionadhd@victorianopera.com.au.

CONDUCTOR EMERITUSRichard Gill OAM

VICTORIAN OPERA BOARDJane Hemstritch (Chairman)Greig Gailey (Deputy Chairman)Francis Ebury, Earl of WiltonRoss FreemanAnne GilbyThe Hon. Professor Barry Jones, AOPenny StragalinosCatherine Walter AM

EXECUTIVEArtistic DirectorDr Richard Mills AM

Managing DirectorAndrew Snell

Executive ProducerLibby Hill

ARTISTIC AND EDUCATIONHead of MusicPhoebe Briggs

RepetiteurPhillipa Safey

Education & Community Engagement Manager Melissa Stark

Artistic Administration CoordinatorKate Stephens

FINANCE AND ADMINISTRATIONFinance & HR ManagerDarren O'Beirne

Finance AssistantClaire Voumard

Offi ce AdministratorKate Bailey

DEVELOPMENT AND MARKETING Development & Corporate Partnerships ManagerJo De Jong

Business Development ManagerMelissa Grenville

Individual Giving ManagerCatrionadh Dobson

Philanthropy ExecutiveCaroline Buckley

Development & Marketing Coordinator Nichole O'Duffy

Marketing & Communications Manager Kanesan Nathan

Marketing & Communications CoordinatorLisa Wallace

Media Relations ExecutiveRohan Astley

PRODUCTION Production ManagerMichele Bauer

Technical & Operations CoordinatorPeter Darby

Costume SupervisorRoss Hall

VICTORIAN OPERA 2014 SEASON STAFF

Staff / VICTORIAN OPERA

VICTORIANOPERA STAFF

Head Mechanist Adam Graf

Head Cutter Tirion Rodwell

Machinist Madeleine Somers

Men’s Cutter/Machinist Maruska Blyszcak

Cutter/Machinist Elizabeth Maisey

Machinists Rebecca ClarkLisa Edwards

Milliner Phillip RhodesWardrobe Coordinator Jane JerichoWigs and Makeup Linda Cowell

ORCHESTRA VICTORIA

T: (03) 9694 3600admin@orchestravictoria.com.auwww.orchestravictoria.com.au

ORCHESTRA VICTORIA MANAGEMENT

Artistic DirectorNicolette Fraillon Director Orchestral Operations & Music ServicesJulie Amos Operations ManagerAmelia DaviesOperations CoordinatorMargaret LloydLibrarianAndrew KimberAdministration AssistantElise Lerpiniere

ORCHESTRA VICTORIA BOARD

Carol Benson Tony Osmond Peter Smedley

ARTS CENTRE MELBOURNEPO Box 7585St Kilda RoadMelbourne Vic 8004(03) 9281 8000(03) 9281 8282artscentremelbourne.com.au

VICTORIAN ARTS CENTRE TRUSTMr Tom Harley (President)Mr Sandy ClarkMr Julian Clarke AMMr Jim Cousins AOMs Dana HlavacekMs Catherine McClementsMr Graham Smorgon AMMr David Vigo

EXECUTIVE GROUPInterim Chief Executive Mr Geoff StreetChief Operating Offi cerMs Jodie BennettExecutive Development & StrategyMs Louise GeorgesonExecutive Marketing & ProgrammingMs Sarah Hunt Executive Sales & Customer ServicesMr Kyle Johnston

Arts Centre Melbourne extends heartfelt thanks to our Arts Angels, whose generosity, loyalty and commitment ensure as many Victorians as possible can experience the joy of the performing arts here in Melbourne.

FOR YOUR INFORMATIONThe management reserves the right to add, withdraw or substitute artists and to vary the program as necessary. The Trust reserves the right of refusing admission. Recording devices, cameras and mobile telephones must not be operated during the performance. In the interests of public health, Arts Centre Melbourne is a smoke-free area.

Principal Regional Partner

DONORS

Orchestra Victoria acknowledges the outstanding generosity of our very special donors. Every gift is important and appreciated and allows Orchestra Victoria to continue to deliver high quality accessible music across Victoria.

MAJOR GIFTS

Robert Albert AO, RFD RD & Mrs Libby Albert

Evelyn & Tom DanosJane Edmanson OAMNeilma GantnerGaye & John GaylardGeoff Handbury AOPeter A KingsburyJudith & Alisdair McCallumHeather McKenzieLindsay MooreLady Primrose Potter ACMargaret S Ross AMSarah TehanDrs Victor & Karen Wayne

PRINCIPAL DONORS

David & Cindy AbbeyBetty Amsden OAMJ. BlainBeth Brown & Tom Bruce AMTerry AO & Christine CampbellPeter & Ivanka CanetSandy ClarkLord & Lady Ebury

Kathryn FaggNeilma GantnerJane P Gilmour OAMColin SC & Deborah GolvanRichard W HamerPeter HorsleyAlastair JacksonPeter & Carmel JohnsonDavid KanPeter OAM & Barbara KollinerJohn LanderPeter McLennanMarilyn MeyerPatrick Montgomery

& Miranda MilneMichelle & Ian MooreElizabeth PenderDavid Geoffrey PeningtonKerryn PratchettJohn Redman Michael AO & Judith RobinsonKatherine ShackellLibby Smith Joy Spark

TRUSTS & FOUNDATIONS

William Angliss (Victoria) Charitable FundWilliam Buckland FoundationCollier Charitable FundJoan & Peter Clemenger TrustHenkell Family FundThe A.L. Lane FoundationRay & Joyce Uebergang Foundation

PRINCIPAL REGIONAL PARTNER

Bendigo Bank

Bendigo Bank’s strong community and regional focus has great synergies with Orchestra Victoria’s work across Victoria.

CORPORATE PARTNERS

Ace RadioAllens > < LinklatersKent Moving & Storage

GOVERNMENT PARTNERS

Australia Council for the ArtsArts Victoria

The support received from the Australian Government through the Australian Council for Arts and from the Victorian Government through Arts Victoria provides the foundation from which we present all our partner opera and ballet companies. Further support from Local Governments assists our innovative Community & Education Programs.

Our Partners

Victorian Opera is supported by the Victorian Government through Arts Victoria. Victorian Opera wouldalso like to acknowledge, with great appreciation, the contribution of the partners listed on the page.

Government Partners

Supporting Partners

Education & Access Partners

William Angliss Charitable Fund

Performance Partners

Foundation Partner

University Partner

Sylvia Fisher Foundation

Victorian Opera creates tailored partnerships to enable businesses to meet their strategic priorities. Partnerships are availableat various levels and activity is adapted to align with each company’s objectives. For a discussion about how your business can benefi t from a partnership with Victorian Opera, please contact Jo De Jong, Development & Corporate Partnerships Manager on (03) 9001 6408 or jo@victorianopera.com.au.

VICTORIAN OPERA / Season Partners

Regional Partner