Community Theatre

Willoughby Theatre Company to Open New Venue

Willoughby Theatre Company (NSW) is gearing up to be the opening act with their production of The Boy From Oz when The Concourse opens later this year in Willoughby. The Concourse is a $150 million arts complex in the heart of Chatswood.  The theatre seats 500 patrons.  It is a two tiered raked proscenium arch theatre with fly tower and orchestra pit. It is one of the most technically sophisticated new theatres in Sydney. The Concourse also contains a 1,000 seat Concert Hall, Function areas, an underground library, restaurants and open garden areas.

Annie Tim Burton Style

The Regals Musical Society (Sydney) has found a new home for their production of Annie from October 14 - 22.

The orphanage has shifted from Rockdale Town Hall to the nearby Sydney Technical High School Auditorium at 686 Forest Rd, Bexley.

Theatrefest Hunter

Theatrefest Hunter, scheduled for September 10, 2011, has been cancelled and re-scheduled for May 2012

Tax advisor by day, Tax evader by night!.

Hunters Hill Theatre (NSW) opens its third play of the year, “Funny Money”, on August 12th, a manically-paced farce written by the UK’s farce-master Ray Cooney. 

The cast features regulars and newbies to the Hunter’s Hill stage, including the talented Catherine Dillon who plays Jean, wife of Henry the briefcase swapping accountant. Catherine has come full circle to perform in an English play on an Aussie stage, hailing from Manchester.  

The Mousetrap for Adelaide

The Therry Dramatic Society in Adelaide will be presenting Agatha Christie’s iconic murder mystery, The Mousetrap, opening on Thursday 1 September at The Arts Theatre, for a 3 week season (season extended by popular demand).

The Farnsworth Invention

New Theatre (Newtown, NSW) presentsThe Farnsworth Invention by Aaron Sorkinthe writer of The Social Network and The West Wing, from July 13 – August 13, 2011.

Simon Crean, Federal Minister for the Arts, visits CLOC Musical Theatre.

Melbourne’s CLOC Musical Theatre recently ended a spectacularly successful season of the music theatre classic Fiddler on the Roof, which broke attendance records for the company. The CLOC production placed a strong emphasis on authenticity, from the intricate sets (complete with Russian and Hebrew writing and Jewish paraphernalia), layered costumes, period props and even extending to ensuring all Jewish customs and minutiae were correctly portrayed onstage.