May 2012 – Hoskins Theatre, The Armidale School
Music by Peter Rutherford. Book and lyrics by James Millar.
By arrangement with Hal Leonard Australia Pty Ltd
‘Hymn’ - The Company
‘Twisted Little Town’ - Harriet, Minnie, Rebecca, Marianne & The Company
‘Puddles’ - Amber
‘Holding You’ - Amber
‘Work’ - Amber, Man 1, Man 2, Harriet & The Company
‘Bad Fruit’ - Harriet
‘Knock Knock Knock’ - The Company
‘Enough’ - Amber
‘Knock Knock Knock’ (Reprise) - Male Ensemble
‘Gathering Sirens’ - Marianne, Rebecca, Minnie & Female Ensemble
‘Steal Away’ - Charles, Agatha & Clara
‘Twisted Little Town’ (Reprise) - Rebecca, Marianne & Minnie
‘The Hand of Courage’ - Harriet & Amber
‘Digging Up’ - James & The Company
‘Holding You’ (Reprise) - Amber
‘So Much More Than Me’ - Amber
‘Why Did I Give Him Away?’ - Amber, Marianne, Minnie & Rebecca
‘Sail’ - Harriet & Clara
‘Something Like Being A Mother’ - Harriet
‘Natural Causes’ - Charles, Agatha, Williamson & The Company
‘The Hatpin’ - Clara
‘Verdict’ - The Company
‘The Tony Glow/Sail’ (Reprise) - Amber, Harriet & The Company
Big constables Joyce and Brown
Went to MacDonaldtown
Many babies there they found,
Buried underneath the ground.
What will mother Makin say,
On resurrection day,
When those kids rise up and say,
Ta-ra-ra-ra, der boom-dee-ay?
A street song - sung by children during the Makin trial.
New musicals travel a treacherous road. If the first production is wildly successful and the initial concept strong, few directors feel confident enough to diverge from what the public know. Les Misérables is a classic example. Though there have been literally thousands of productions around the world, very few have dared to stray from that initial bold and wonderful concept.
If the first production of a new musical is not successful or not widely seen, directors (who always think they know more than the writers), meddle, alter, add, delete and generally work to ‘enhance’ a show for better and for worse. Chess - The Musical is a classic example. A wonderful musical that has had as many versions as it has had productions.
There have been five productions of The Hatpin in Australia and the USA since the professional premiere in 2008. This version is the sixth. While the initial concept for the musical was wonderful, I did not feel beholden to it in any way. No two people see things exactly the same way. No two productions can ever be the same. This version is how I saw it when I first looked at the script and heard the music. It is a reflection of what I felt when I visited the homes in Sydney where the murders took place and what was left with me after speaking with descendants of the Makin family. There is no right or wrong. This is simply our telling. Our job as performers is always to tell a story as honestly and as dramatically as we can.
New Australian musical theatre is not abundant and yet our history is filled with shocking, funny and amazing historical tales just waiting to be told. The more we stage and give voice to new Australian theatre, the more writers will write...and I want them to write!! I am committed to promoting new Australian musical theatre. After all, if we don’t tell our own stories, who will?
CAST (in order of appearance)
Clara Makin: Emily Roberts, Charles Makin: Gregory Balcombe, Agatha Makin: Emily Stocker, Harriet Piper: Carol Elder, Minnie Davies: Jodie Perry, Rebecca Rigby: Mollie Galvin, Marianne Leonard: Anita Brown, Amber Murray: Caroline King, Edward Cleary: Ben Bible, Man 1/ Policeman: Warren Bartik, Man 2: Richard Kiehne, James Hanoney: Chris Curcuruto, Constable Joyce: Will Smidt, Justice Stephen: Stuart Pavel, Thomas Williamson: Waine Grafton
Ensemble: Lauren Bale, Peta Bale, Jocelyn Harris, Ziggy Harris, Neil Horton, Deborah Hunter, Nick Kelly, Annie Keoghan, Ewan Patterson, Maree Puxty, Andrew Trestrail
Chris Garden, Sarah Thorneycroft, Robyn Bradley, Gerard Larkins, Bruce Menzies, Charlotte Hayes, Lachlan McKie, Margaret Butcher, Alana Blackburn, Graham Maddox, Matt Grey
Director/Set Design: George Torbay
Music Director: Bruce Menzies
Assistant Director: Melissa Killen
Assistant Music Director: Robyn Bradley
Producer: Neil Horton
Assistant to the Director: Crystal Brunyee
Costume Design: Deborah Hunter
Wigs & Hair Design: Lindy Hardman
Lighting Designer: Chris Snape
Lighting Operator: Jen Mitchell
Sound Design: Luke Polson
Sound Operators: Carolyn Shepherd, Anthony Carlon, Tom Wright
Stage Manager: Sarah Watson
Assist. Stage Manager: Crystal Brunyee
Construction Engineer: Pat Bradley
Props: Pam Menzies with Rachel Horton, Michael Gibson, Lisa Quast, Duncan Quast, Adele Brownlow, Dot Pollard
Publicity and Promotions: Marney Tilley, Warren Bartik, Ben Bible
Poster and Program design: Greg Balcombe
Front of House: David Trestrail with Alex Robson, Ania Glover, Mikayla Glover, Anne Cunningham , Anne Matley, Benjamin Thorn, Cathie Lamont, Colin Barry, Daniel Collins, Diana Helmrich, Fay Paris, Grace Paris, Frances Tafra, Garry Slocombe, Heather Pavel, Julie Collins, Kerri Faint, Lisa Quast , Margaret Sims, Marina Reader, Mark Bourne, Marney Tilley, Pat Bradley, Ros Brady, Roslyn Manion, Heloise Fortin, Cecile Michels, Kylie Landrigan
Revolve Operator: Harrison Abey
Technical Assistant: Mitch Cartwright
Photography: Terry Cooke
Geoff Allen, Lisa Allen, Nick Allen, Katie Allen, Michael Kelly, Michael Marateas Restorations, The Men’s Shed, Maurice & Marie Anker, New England Building Recyclers, Newie Hotel, Image 2 Dye 4, Dan Perry, Col Barry, Gordon Cope, Grandpa Bill, Showground Trust, Gary Slocombe, Alec Watt, Ros Brady, The New England Motel, The Armidale School, Emma Buzo, Annie Abbott, Alby Behrens, Kaitlin Fell, Erica Reynolds, Jocelyn Walkden-Brown, Clint Berry, Toby Berger, Blake Wisemantel