Stages With Peter Eyers

Peter Carroll’s distinguished career has spanned over 100 productions and 50 years. He continues to work in musical theatre, new Australian texts, and global classics. He has worked with the major theatre companies and commercial managements in Australia including, MTC, QTC, STC, STCSA, Belvoir, Bell Shakespeare, and Opera Australia.  Peter began his career as a teacher (English, History and Drama) while gaining experiences in theatre work. In 1968 he went to London to study at the Central School of Speech and Drama where he topped the course. He returned to Sydney in 1970 and for three years headed the Voice and Speech department at the National Institute of Dramatic Art. During this time, he produced many plays for the students and kept up his acting work with guest appearances. At the end of 1973 Peter decided to attempt a full-time acting career and his work since then has more than vindicated his choice. He was a founding member in the 1970’s of the Nimrod Theatre Company, performing up to seven or eight

Peter Carroll’s distinguished career has spanned over 100 productions and 50 years. He continues to work in musical theatre, new Australian texts, and global classics. He has worked with the major theatre companies and commercial managements in Australia including, MTC, QTC, STC, STCSA, Belvoir, Bell Shakespeare, and Opera Australia.  Peter began his career as a teacher (English, History and Drama) while gaining experiences in theatre work. In 1968 he went to London to study at the Central School of Speech and Drama where he topped the course. He returned to Sydney in 1970 and for three years headed the Voice and Speech department at the National Institute of Dramatic Art. During this time, he produced many plays for the students and kept up his acting work with guest appearances. At the end of 1973 Peter decided to attempt a full-time acting career and his work since then has more than vindicated his choice. He was a founding member in the 1970’s of the Nimrod Theatre Company, performing up to seven or eight

From an early age Tim Rice was a pop music fanatic. He began his professional life as a trainee solicitor. While still an apprenticed clerk Tim approached the head of Arlington Books, Desmond Elliot, with the idea of writing a book about pop history. The idea didn't impress Elliot, but the fact that Tim was also a budding song-writer did. Elliot knew someone in need of a collaborator: a young man called Andrew Lloyd Webber, who wanted to be a composer. At Elliot's suggestion, Tim wrote to Andrew, and a meeting was quickly arranged. The two men hit it off immediately, and, owing to Andrew’s love of American musical theatre, began to try to write a musical rather than pop singles. And so this story begins. Tim Rice continued to work with Andrew Lloyd Webber, giving us visceral and intelligent musical theatre fare that includes Joseph & The Amazing Technicolor Dreamcoat, Jesus Christ Superstar and Evita. The pair also share the unique accolade of writing a song for Elvis Presley; “It’s Easy for You”.

John Diedrich is one of the Australian theatre’s greatest and most versatile talents, having contributed to the industry across many platforms as actor, writer, director and producer. John commenced his career at age 11 with J.C. Williamson’s, appearing in the classics Camelot and then Oliver!, playing the Artful Dodger. At the age of 19 John produced and directed his first musical, presenting Minnie’s Boys, a musical based on the life of the Marx Brothers. Regular engagements as an actor followed in both plays and musicals, including Salad Days at St Martins, Grease for Harry M. Miller, Two Gentlemen of Verona for Kenn Brodziak, Lloyd George Knew My Father, starring alongside Sir Ralph Richardson, and with Leslie Phillips in The Man Most Likely To.John co-wrote, directed and performed in three highly successful revues; Gershwin - a musical tribute to the songwriting brothers, The Twenties and All That Jazz and Oh Those Thirties.In 1980, John was cast as Curly in Cameron Mackintosh’s revival of Rodgers &

John Diedrich is one of the Australian theatre’s greatest and most versatile talents, having contributed to the industry across many platforms as actor, writer, director and producer. John commenced his career at age 11 with J.C. Williamson’s, appearing in the classics Camelot and then Oliver!, playing the Artful Dodger. At the age of 19 John produced and directed his first musical, presenting Minnie’s Boys, a musical based on the life of the Marx Brothers. Regular engagements as an actor followed in both plays and musicals, including Salad Days at St Martins, Grease for Harry M. Miller, Two Gentlemen of Verona for Kenn Brodziak, Lloyd George Knew My Father, starring alongside Sir Ralph Richardson, and with Leslie Phillips in The Man Most Likely To.John co-wrote, directed and performed in three highly successful revues; Gershwin - a musical tribute to the songwriting brothers, The Twenties and All That Jazz and Oh Those Thirties.In 1980, John was cast as Curly in Cameron Mackintosh’s revival of Rodgers &

Martin Portus has managed media and communication strategies for five organisations, including the launch of the National Museum of Australia, for the University of Sydney’s Conservatorium of Music, Parramatta City Council and the Australia Council for the Arts.  At Parramatta City Council Martin was also employed as senior policy/political adviser to three Lord Mayors.  Most recently, he completed a one-year contract where he reinvented the branding, media and partnership strategies for the Commonwealth’s new Workplace Gender Equality Agency (WGEA).  NIDA trained, his first career was as a television and stage actor in Sydney and Adelaide. Later, with a BA from Adelaide University, he studied a post-graduate diploma of journalism at City University in London.  After freelancing in London, Martin worked in Sydney as an arts journalist and critic for Fairfax Media, mostly the SMH, before joining the ABC in 1989.From 1989–2000,  Martin was an ABC TV and Radio National arts broadcaster and producer - presenter o

Welcome back to this companion episode of the STAGES podcast and our conversation with Natalie Mosco.In Part 1, Natalie shared anecdote from her vast career, particularly the period when she worked throughout Australia is many shows, garnering a significant profile. Natalie of course arrived in Australia via the Musical Hair, where she had been a member of the Broadway company.Subsequent stage sojourns included Grease, Two Gentlemen of Verona, The Magic Show, Gershwin, The Rocky Horror Show, Get Happy and Pippin. All of which she shares terrific insight to - the triumphs and occasional trauma. And always with tremendous passion, joy and respect; for an art form she adores and the folk who inhabit it.She recalls her first Australian too - the great Cyril Ritchard, who directed her as an 11 year old in La Perichole at the old Metropolitan Opera House in New York City.In Part 2, Natalie recounts growing up and embracing an education in the Performing Arts. And revisits celebrated performances in Follies, as Emil

New York born, Natalie Mosco appeared on Australian stages over a three decade period in productions that included The Rocky Horror Show, Get Happy, The Conquest of Carmen Miranda, Company and Oscar’s Turn to Sing.Her earliest theatrical experiences were garnered as a dancer in a string of operas for the Metropolitan Opera House, as well as Swan Lake and Sleeping Beauty for Britain’s Royal Ballet.She turned to acting in 1965 with plays for Off-Broadway’s American Place Theatre. In 1968 she was a member, and later starred with the original Broadway cast of Hair and began a four year association with that show which took her as a performer/choreographer to Toronto, Boston, Paris, and finally Melbourne for the beginning of the Australian tour.Following Hair, Natalie toured with Jesus Christ Superstar, leaving that show for major roles in Grease, Two Gentlemen of Verona, No Sex Please We’re British, Pippin, Gershwin, and The Magic Show. An offer to re-create her Australian role in The Magic Show on Broadway took

Brett Weymark is one of Australia’s foremost choral conductors. Since 2003 Brett Weymark has conducted the Sydney Philharmonia Choirs throughout Australia and internationally. He has also conducted the Sydney, Adelaide, Queensland, West Australian and Tasmanian symphony orchestras, Orchestra of the Antipodes, Sydney Youth Orchestra, New Zealand Symphony Orchestra, Hong Kong Philharmonic and productions for WAAPA, Pacific Opera and OzOpera. He has performed with Opera Australia, Pinchgut Opera, Australian Chamber Orchestra, The Song Company and Musica Viva. He studied singing and conducting at Sydney University and the Sydney Conservatorium of Music and continued conducting studies with Simon Halsey, Vance George, Daniel Barenboim and Sir John Eliot Gardiner, amongst others. His performances have included Bach’s Passions and Christmas Oratorio, the requiems of Mozart, Verdi, Duruflé and Fauré and Orff’s Carmina Burana. He is champion of Australian composers and has premiered works by Matthew Hindson, Elena Kat

A special episode of the STAGES podcast - a Mother’s Day focus with two of our favourite Mother/Daughter acting pairs - Belinda Giblin and Romy Bartz. Many women have followed their Mums into the precarious vocation that is the stage and screen. Whilst being witness to the challenge and triumph of such a career, it has not stopped them following in Mother’s footsteps - chasing the dream, telling stories and embracing a wondrous profession. For many showbiz families, it is the family business; and we are aware of the dynasties who have made Acting their focus across several generations. Some who trod the boards, are the ‘black sheep’ of the family, who find their way without a single member guiding the way. So what are the challenges, or the advances, if any, of having your Mum lead the way. Belinda and Romy offer a unique insight and allow us to celebrate their significant talents. Belinda Giblin is one of Australia’s most distinguished stage and screen actors. Her most recent theatre credits include “Ama

Born in Australia, Nicholas McRoberts studied piano, composition and conducting at the Melbourne Conservatory, the Victorian College of Arts, the CNSM in Paris and the Ecole Normale. He studied conducting with Robert Rosen, Jorma Panula and Dejan Savić.Today he is based in France. His works include operas, symphonies, ballets, voice, piano and chamber works.His Symphony No. 1 “From the Old World” was premiered by the Sofia Philharmonic on the 27th of August 2022 with the composer conducting. His "Adagio for Strings" was commissioned for the Nürtinger Chamber Orchestra and first performed on November 14, 2021, conducted by Friederike Kienle. It was written during the Covid lockdowns and recorded with the Janaček Philharmonic in March 2021. The French première was given by the Ensemble Orchestral de Biarritz, conducted by Yves Bouillier in July 2022. In September 2019 he was named conductor of the Orchestre Démos du Grand Verdun with the Philharmonie de Paris. In 2018 he was named artistic director of

Katherine Wiles has been a full-time member of the Opera Australia Chorus since 2007. An essential and vital ensemble of players who contribute enormously to the world of the narrative being sung on stage. A stimulating position that sees the ensemble represent community in a breadth of operatic repertoire - as nuns, soldiers, townsfolk, mourners, socialites and sisters. But whether it’s dressing up or dressing down, the chorus is an exulted position that completes the Opera aesthetic and sound.Katherine delivers an honest, raw, and hilarious insight into the life of an Opera Chorister. …. in a recently penned autobiography detailing a most splendid vocation. NO AUTOGRAPHS PLEASE! - LIFE IN AN OPERA CHORUS. It is filled with backstage antics, onstage disasters, personal anecdotes, and shines a light on a section of the opera industry people know very little about. New Zealand-born Katherine lives in Sydney, after being based in the UK where she studied with Patricia Hay. She holds an F.T.C.L. Voice from Trini

Danny Ball is a proud Italian-Australian actor, producer, educator and writer/director. He graduated from NIDA in 2016. Born in Melbourne; during high school he developed an interest in filmmaking and literature as well as being a committed martial artist competing at a national level. He studied a Bachelor of Arts at the University of Melbourne where he became involved in student theatre; performing in plays as well as producing and directing his own work. He subsequently formed an independent theatre company and produced two new Australian works; The Apartment and Narcissus (Melbourne Fringe Festival)  As an actor his work includes Blackrock, Macbeth, Mercury Fur, Concrete, Romeo & Juliet, The Serpent’s Teeth, Much Ado About Nothing, Cleansed and The Italians. As playwright, his debut play, Adidas Girls, was produced by the Drama Studio and performed at Illawarra Performing Arts Centre in 2021. His play, The Italians, received a production in Sydney in 2022 at Belvoir theatre as part of the 25A program.

In May, Emily Cascarino returns to the cast of MAMMA MIA! The Musical. She made her professional debut as a swing, and Sophie, Ali & Lisa understudy; in the 10th Anniversary Tour in 2009. Since then, Emily has played Nessarose in the Australasian tour of Wicked (Gordon Frost Organisation) and was dance captain and swing on Jersey Boys (Newtheatricals). More recently, Emily covered Emma Wiggle on the Wiggle, Wiggle, Wiggle! Tour. She is effervesent, ever-ready and ever delightful . Let’s say hello to Emily Cascarino. Her other credits include Glinda in Wicked (Packemin Productions), Lorraine Hastings in Bells are Ringing and Sue Harding in Applause both for Neglected Musicals, Sally De Banis in Squabbalogic’s Reefer Madness, as well as opera productions Carmen (Alexander Productions) and Dead Man Walking (Andrew McManus Productions). Emily also featured in Village Roadshows’ Natalie Wood: Hollywood’s Last Child as Natalie Wood’s young sister Lana Wood.The STAGES podcast is available to access and subscribe

Jeremy James is a theatre director, actor, dramaturg and teaching artist, whose work and research have taken him to more than 20 countries over the past 25 years. His sharply crafted ensemble work is described by eminent theatre academic, Patrice Pavis, as ’masterly performed [and] characteristic of the recent evolution of the dramaturgy of the actor’. He tells stories which inspire dialogue about who we are and who we want to be; actively questioning the role theatre plays in society today. Characterised by tightly choreographed performances, his main stage and site-specific productions create immersive experiences which draw on laboratory theatre principles, new writing practices, dance, live music, puppetry, mask and innovative design. He embraces artistic, cultural and linguistic diversity to expand traditional narratives and enrich the connections between the text, the actor and the audience. His distinctive approach to theatre practice and pedagogy evolved through his work and training with European mas

Michael Misita grew up in Ohio and is a graduate of the Boston Conservatory of Music. He subsequently carved a brilliant career as a dancer, actor and choreographer.Early work commenced in the American theatre tradition of summer-stock at the Melody Top theatre in Milwaukee.  There he ‘cut his teeth’ on shows that included Irma La Douce, Sweet Charity, Lady in the Dark and The Boyfriend. He landed a Broadway show on his first day in New York City; a brief run in a musical titled The Fig Leaves are Falling, alongside Dorothy Louden and David Cassidy. More successful runs allowed him to work with a host of master Directors and Choreographers, who included Bob Fosse, Michael Bennett, Tommy Tune and Hal Prince. Michael appeared in nine Broadway productions including the original Follies, and Applause, and as replacement cast in Pippin. He was cast in A Chorus Line when it began at the Public Theatre, and performed in Equus, where Richard Burton and Tony Perkins played the lead at different times. Other leading pl

The art of scenic design is a craft as old as the theatre itself. Painted cloths, gauze and scenery complete the illusion to which we attend so freely. However, with the advent of technologies, the theatrical experience, which essentially has a responsibility to transport us into other worlds, has seen new and often unsatisfying ways of conjuring this magical immersion. Rod Clarke and Stella Ginsberg are artists who have been constructing and executing the specific craft of the scenic artist for several decades. Their bespoke and alluring art has given dimension, atmosphere and life to stage settings in a most unique and hypnotic manner. It is an art form that is at some risk however, as a new generation of designers begin to explore other avenues of invention to tell their stories. Their craft was inherited from ‘old hands’ who generously and responsibly passed on their knowledge of constructing huge canvases. This ensured a dying art was kept alive so that it could continue to enhance precious storytelling.

Born in Sydney, Richard Bonynge studied at the NSW Conservatory of Music and the Royal College of Music. He served as Music Director of the Sutherland-Williamson Grand Opera Company in 1965 (Melbourne, Adelaide, Sydney, Brisbane), as Artistic Director of the Vancouver Opera from 1974-77 and Music Director of The Australian Opera from 1976-86. Maestro Bonynge’s accomplishments as conductor and musical scholar were recognized when Queen Elizabeth II, during her Silver Jubilee Celebration in 1977, made him a Commander of the British Empire. In the summer of 1989, the French government honored him with the rank of “Commandeur de l’Ordre National des Arts et des Lettres”.Throughout his illustrious career, Richard Bonynge has conducted in the world’s leading opera houses in Europe, North and South America, Australia and New Zealand and Asia. He has received world-wide acclaim as a scholar of bel canto opera and is celebrated for leading the renaissance of eighteenth and early-nineteenth century musical theater, suc

Peter Whitford had celebrated 17 prolific years in show business as one of Australia’s leading actors before he was ever required to sing publicly in the commercial theatre. This was as the wily Governor in The Best Little Whorehouse in Texas. Eight years later he trod the musical boards again in another Mike Walsh produced delight; Anything Goes as Moonface Martin; public enemy number 13, opposite Geraldine Turner. Another musical was to follow with Me and My Girl as Sir John, opposite Sheila Bradley.Born in Adelaide, his early stage ventures came though university theatre. Graduating from NIDA in 1963, Peter did an ABC radio play, King of Hearts, and never looked back.His professional stage experience was in the Old Tote’s inaugural production of The Cherry Orchard. His theatre performances include Ghosts at Belvoir Street; See How They Run, Why Me? And A Small Family Business for the Northside Theatre Company; and The Country Wife for the Sydney Theatre Company.Other credits on his vast list include Hedda

An actor whose career is approaching fifty years, Valerie Bader has worked extensively across all performance disciplines. Notwithstanding her considerable film and television credits, Valerie is perhaps best known for her theatre work – having performed with all of the major theatre companies (and even more of the minor ones). Raised in a family of folk who all explored ways to express themselves in various roles of the theatre, Valerie’s first forays into show business were with ‘the firm’ -  J.C. Williamson’s; in the musicals Irene and No, No, Nanette. She also featured in productions of Original Australian Musicals; The Venetian Twins, Pearls Before Swine, Jonah Jones, Darlinghurst Nights and Summer Rain.Theatre credits includes: Dinkum Assorted, Australia Day, Parramatta Girls, Barmaids, Thomas Murray and the Upside Down River, TALK, Children of the Sun, M Rock, The Floating World, Away, The Appleton Ladies’ Potato Race and A Christmas Carol. She is also remembered in Sydney for her many appearances with