Ho Ho Ho! STAGES has completed yet another season. Season 8! And 600+ episodes. You know what that means … it’s time to haul out the holly and pull those bon-bons.
As is tradition, we conclude season 8 with our annual Christmas episode. The perfect companion as you wrap your presents, put up the tree, peel a prawn and pour another glass of pineapple punch!
Once again I am joined by ‘Mary Christmas’ herself, the inimitable Kate Fitzpatrick who will no doubt provide her take on the cricket and the festive season. Always a treat!
And special guests galore come into the STAGES studio to escape the ‘icy footpath, chestnuts roasting and snow covered stoops’ of our Christmas trained brains.
Publicist Ian Phipps will say hello and advise us what to look out for on national stages in 2026.
Drag Doyen Stan Munro has written his autobiography with companion author William Brougham, and they’ll join us to celebrate ahead of the book’s January release.
The busiest couple in showbiz, Grant Piro and Marina Prior found time in their chockablock schedules to bring some Christmas cheer.
Old mates Hugh Monroe and Donna Lee too, via the magic of Christmas allow us an in depth conversation with Santa and Mrs Claus ahead of their busiest time of the year.
And we wrap it all up with our favourite Christmas anthem, penned by Ron Creager & Tina Messina, and performed by Lauren Schmutter, ‘Christmas Will Find Us Wherever We Are.’
So we hope you can join us and rejoice in the STAGES year that saw season 8. Thank you to all of our listeners, the guests, near and afar, who have shared their stories in this season’s episodes, and the personnel who have coordinated some of those conversations. I can’t wait for season 9 in 2026.
We are all greatly saddened by the passing of the great Toni Lamond in November. As the very first guest on the podcast, we would like to dedicate this episode to her. She leaves a vast legacy. Fly high dear Toni!
Merry Christmas and Happy New Year to all!
The STAGES podcast will return in March, 2026.
The STAGES podcast is available to access and subscribe from Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Follow socials on instagram (stagespodcast) and facebook (Stages).
Two of our favourite STAGES guests, and couples, return to the podcast, together, to examine their dual lives as actors. Grant Piro and Marina Prior guarantee performance brilliance in any entertainment in which they grace the stage. They reflect on some of the highlights of 2025 and what Christmas brings to them both, as a couple, individually and as a family.
Few artists embody the breadth and brilliance of Australian musical theatre as completely as Marina Prior. This year alone she has reaffirmed her status as one of the nation’s great leading ladies, embracing an extraordinary range of roles across the stage. From the brittle sophistication of Phyllis Rogers Stone in Stephen Sondheim’s Follies, to the tender innocence and wisdom of Kimberly Akimbo, and the delicious villainy of Madame Thénardier in Les Misérables – The Arena Spectacular, Prior continues to demonstrate an artistry of remarkable versatility. The latter role also marked her West End debut during the production’s 40th Anniversary season, a milestone in an already unparalleled career.
Her presence extends beyond the stage, with a much-loved annual appearance in Carols by Candlelight, broadcast nationally each Christmas Eve.
This year’s theatrical landscape saw Grant Piro play Dimitri Wiseman in Follies, and complete a national tour of Agatha Christie’s And Then There Were None. He now appears in the stage adaptation of Cluedo. Inspired by the classic board game and the 1985 film, Cluedo is a fast-paced, laugh-out-loud whodunnit, featuring an all-star Australian cast and touring nationally throughout 2026.
In the coming year, Marina Prior joins fellow icons David Hobson, Silvie Paladino and Michael Cormick in OVATION, a concert celebrating the very best of musical theatre and opera. United by decades of shared history and artistry, these four performers come together in a program that honours the music, roles and moments that have defined their careers.
The STAGES podcast is available to access and subscribe from Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Follow socials on instagram (stagespodcast) and facebook (Stages).
Wilton Morley is an accomplished theatrical producer whose career helped shape the landscape of Australian commercial theatre throughout the 1970s and 1980s. Born into one of Britain’s most distinguished theatrical families—the son of celebrated actor Robert Morley and grandson of stage and screen legend Dame Gladys Cooper— he carried forward a remarkable artistic lineage while forging a distinct and influential career of his own.
Morley began his professional journey with J.C. Williamson’s, the powerhouse of Australian commercial theatre, where he gained a deep grounding in production, touring and company management. Over the following two decades, he became known for bringing high-profile international stars to Australian stages, nurturing major local talent, and producing works that ranged from intimate dramas to genre-defining musicals and theatrical sensations.
His first venture into producing, through his company Parachute productions, was Same Time, Next Year (1976) starring Lewis Fiander and Nancye Hayes.
Among his most prominent productions were the 1988 stagings of Blood Brothers, featuring Chrissie Amphlett, Russell Crowe and Peter Cousens; and Noel & Gertie with Geraldine Turner and Peter Carroll. He presented Paul Eddington in dual Terence Rattigan works, The Browning Version and Harlequinade, in both Melbourne and Sydney, and brought new energy to repeated seasons of The Rocky Horror Show, which enjoyed highly successful runs under his stewardship throughout the 1980s.
Morley showcased contemporary writing and emerging voices, producing works such as When I Was a Girl I Used to Scream and Shout, Crystal Clear, Pack of Lies, and established playwrights with Tom Stoppard’s The Real Thing, featuring John Bell and Jacki Weaver. His productions frequently attracted international performers of stature: the 1987 revival of Aren’t We All? starred Rex Harrison and Claudette Colbert, while Tennessee Williams’ Sweet Bird of Youth (1986) boasted a cast led by Lauren Bacall, Colin Friels and Frank Wilson.
He also nurtured landmark Australian performances, including multiple seasons of The Elocution of Benjamin Franklin with Gordon Chater, whom he later reunited in The Dresser, starring Warren Mitchell, Chater and Ruth Cracknell. Morley produced comedies, including Steaming, Noises Off, and Steptoe and Son Down Under, and presented Spike Milligan in An Alarmingly Funny Evening with Spike Milligan and Friends.
His interest in experimental and physical theatre led him to invest in Lindsay Kemp’s landmark works Flowers and The Dream, which travelled internationally and became emblematic of avant-garde theatre of the time. Flowers—inspired by Jean Genet and starring Kemp as Divine, became a global sensation despite (and sometimes because of) its controversial reputation.
Musicals formed a consistent thread in his career, including significant seasons of Little Shop of Horrors, My Fair Lady, and multiple tours of The Rocky Horror Show across Sydney, Melbourne, Perth and regional Australia.
Wilton Morley’s career is defined by bold artistic choices, the championing of both established and emerging talent, and a willingness to bring challenging, star-driven and commercially adventurous theatre to Australian audiences. He is a most extraordinary raconteur, fuelled from a two decade career that proved “there is no business like show business.” And it’s a delight to feature him in this riveting episode of the STAGES podcast.
The STAGES podcast is available to access and subscribe from Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Follow socials on instagram (stagespodcast) and facebook (Stages).
A dynamic force in Australian and international entertainment, Drew Anthony began a multifaceted career onstage before expanding into producing, directing, choreography, casting, and writing across theatre, television, concerts, events, festivals, and large-scale ceremonies.
Since relocating to Perth, Drew has served as Artistic Director of Kaleidoscope, the city’s light and illumination festival, and has directed and choreographed The Boy From Oz at Crown Theatre. At Planet Royale in Northbridge, he has produced and directed a string of acclaimed productions, including Grease, Chicago – A Musical Vaudeville, Strictly Ballroom, A Chorus Line, Saturday Night Fever, The Wedding Singer, Footloose, and Little Shop of Horrors.
A specialist in global ceremonies and major events, Drew has held senior creative roles for the Sydney 2000 Olympic Games, Vancouver 2010 Winter Olympics, Doha 2006 Asian Games, Doha 2011 Arab Games, Rugby World Cup New Zealand 2011, NRL State of Origin, the World Handball Championship in Doha, and the Flag Handover Ceremony at the Glasgow 2014 Commonwealth Games.
In theatre and live performance, Drew has directed Olivia Newton-John & Friends in Concert at Sydney’s State Theatre; choreographed and appeared in the Academy Award-winning animated feature Happy Feet; directed Carlotta’s Kings Cross at the Big Top, Luna Park; choreographed the Australian premiere of Jolson; the world premiere of the West End musical Jailhouse Rock; and Opera Australia’s celebrated Orpheus in the Underworld. In 2002, he toured to 33 cities as Associate Director, Choreographer, Producer and featured performer in Hot Shoe Shuffle.
As Resident or Associate Director/Choreographer, Drew has contributed to the Australian national tours of Singin’ in the Rain, Buddy – The Musical, Hairspray, The Pirates of Penzance, Me and My Girl, Jolson (Mo Award nomination), 42nd Street, Red Hot and Rhonda, Rachael Beck’s Young Judy, as well as the USA and UK tours of Hot Shoe Shuffle.
Earlier in his career, Drew Anthony performed with the Queensland Ballet Company and in the Australian and international productions of Cats, 42nd Street, Rasputin, Hot Shoe Shuffle, Me and My Girl, and Sondheim’s Putting It Together. Television appearances included regular performances on The Midday Show and Good Morning Australia, and work as a band member of the swing ensembles Pardon Me Boys and The Fabulous Rhythm Boys.
In 1984, Drew won the Fred Astaire International Tap and Jazz Championship in New York City, marking an early highlight in an expansive and enduring career.
From January 8th, 2026, Drew Anthony Creative presents Saturday Night Fever at The Atheneum Theatre in Melbourne.
The STAGES podcast is available to access and subscribe from Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Follow socials on instagram (stagespodcast) and facebook (Stages).
Delia Hannah has given us a vast range of powerhouse performances in musical theatre productions globally.
Born and residing in new Zealand, for the most part Delia’s career has been based in Sydney, commencing with a two year engagement in the premier season of LES MISERABLES (Cameron MacIntosh), only to return to play the ill-fated Fantine in the 10th Anniversary Production which had extended seasons in Australia, New Zealand and Asia. She also toured Australasia as a principal soloist in THE MUSIC OF ANDREW LLOYD WEBBER (Really Useful Group,IGM) starring Anthony Warlow and Sarah Brightman. She has played New Zealand and Australian seasons of Willy Russell’s acclaimed musical play BLOOD BROTHERS for which she won a Sydney Circle Critics Award for Best Actress. She has toured New Zealand in Stetson’s production of CHESS in the role of Florence Vassey and again in Melbourne as Svetlana.
Not surprisingly Delia has built a reputation for playing strong, dramatic leading ladies who sing powerful and moving musical theatre Arias! Other roles include Eva Peron in EVITA, Anita in WEST SIDE STORY, Annette (alias Miranda) in Nick Enright’s BEACH BLANKET TEMPEST, Miss Santiago in THE BUDDY HOLLY STORY, and Rose Vibert in Lloyd Webber’s favourite musical ASPECTS OF LOVE (RUG),for which she won a “Variety Club Award” and a Mo Award. These awards were awarded to her while she was away starring in the revised Australian version of ASPECTS OF LOVE which toured The UK and opened to raive reviews in London. She toured Australia in the big-top tour of “CATS- RUN AWAY WITH THE CIRCUS” which thrilled outback audiences and earned her a Mo Award nomination for her role as Grizabella, Delia then came to Auckland briefly to play the Baker’s Wife in Stephen Sondheim’s IN TO THE WOODS for The Auckland Theatre Company. She played Glinda in the WIZARD OF OZ for Gordon Frost Organization, just before taking time out from the industry to raise her daughter.
Since then she has appeared in Australia’s popular TV drama ALL SAINTS. delia also appeared many times on popular variety shows such as THE MID DAY SHOW, BERT NEWTON ,HEY HEY IT’S SATURDAY and GOOD MORNING AUSTRALIA.
In 2005 she moved back to Auckland with her husband and daughter and was a guest actor on SHORTLAND STREET and for the prestigious Silo Theatre Company she played Mrs Peachum in THE THREEPENNY OPERA, directed by Michael Hurst and which won “Best Play” in Auckland’s METRO MAGAZINE.
In 2009, Really Useful Group invited Delia to return to Australia to reprise her role as Grizabella in “CATS” for an Australasian tour, then a concert tour of “THE MUSIC OF ANDREW LLOYD WEBBER. She has since been nominated for a Greenroom Award and a Helpmann Award for her role as Grizabella. She toured Australia and Asia, Hong Kong Singapore, Taiwan, Manilla and China.
For Christchurch’s New Court Theatre, it was an honour to play Dorothy Richmond in their lavish Premier production of THE GREAT ART WAR. In Melbourne Delia was invited to perform in Stephen Sondheim’s superb review SONDHEIM ON SONDHEIM. In Sydney she played Margaret Lord in HIGH SOCIETY at the HayesTheatre. Auckland audiences have most recently seen her play The Bird Lady in MARY POPPINS (Disney/Cameron MacIntosh). She has also starred in MAMMA MIA as Donna Sheridan in a sell-out season at Auckland’s beautiful Civic Theatre.
Delia has a CD titled DOWN STAGE CENTRE.
In 2026, Delia is one of the headliners at the annual Australian Musical Theatre Festival, taking place in Launceston from 20th to 24th May.
The STAGES podcast is available to access and subscribe from Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Follow socials on instagram (stagespodcast) and facebook (Stages).
Steve Ross has been a fixture of the cabaret community in Manhattan for over forty years. He was born “forty-five minutes from Broadway” in New Rochelle, NY, and was raised in Washington, DC with an opera-loving father and a mother who played on the piano the songs of Gershwin, Porter and Irving Berlin. His first major job in New York was as a successful singer/pianist at the now famous piano bar Ted Hook’s Backstage.
In 1981 he re-opened the legendary Oak Room at Manhattan’s famed Hotel Algonquin where he held forth off and on for more than 15 years. He has appeared on Broadway in Noel Coward’s Present Laughter and off-Broadway in his tribute to Fred Astaire entitled I Won’t Dance. Internationally, he has performed in London, Paris, Tokyo, Sao Paulo, Rio de Janeiro, Melbourne and Sydney as well as cabarets and theatres across America and on the high seas.
He’s hosted programs on the BBC and New York Public Radio and was on the Concerts and Lectures roster at the Metropolitan Museum of Art for eight years. He co-starred with KT Sullivan in Love, Noel: the Letters and Songs of Noel Coward - summer of 2019 at the Irish Repertory Theatre) His last show at the Algonquin, Puttin’ on the Ritz – the Songs of Fred Astaire, prompted Stephen Holden of the New York Times to describe Steve as “the personification of the bygone dream world that his music summons.”
Steve Ross has delighted and beguiled international audience for decades. Although he has performed in huge out-of-door venues (the St. Lous Muny Opera) and on theatre stages (Present Laughter - Broadway; I Won't Dance - Off-Broadway and on tour) he is equally successful in bringing his unique brand of Manhattan sophistication to cabarets and intimate events all over the world - from the Imperial Hotel in Tokyo to the RItz hotels in London and Paris and from parties for Revlon to special evenings for Christies. The Transatlantic Songbook is alive and well in the hands of this elegant and seasoned performer who turns every evening into an exciting Cafe Society event.
The STAGES podcast is available to access and subscribe from Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Follow socials on instagram (stagespodcast) and facebook (Stages).
Toni Lamond has taken her final bow. A legend of Australian Entertainment, she made her mark across many platforms; television, film, theatre, cabaret, recording, concert, author and of course, musical theatre.
She takes with her the personas she assumed across a vast career – leaving us with memories of Reno Sweeney, Nancy, Mrs Pearce, Fraulein Schneider, Dolly Gallagher Levi, Mama Rose, Pirate Ruth, Maggie Jones, Hattie Walker, Bea Miles, Babe Williams, Wildcat Jackson, Sally Durant, and a Wardrobe named Madame de le Grande Bouche …. to name but a few.
Toni Lamond was a woman of firsts In a time when overseas stars were brought to Australia to lead local productions of Broadway musicals, Toni was first to be given the opportunity to lead an Australian cast, in The Pajama Game. With husband, Frank Sheldon, she was the opening night act on GTV9 as Australian television was finding its feet. She went on to be the first woman to host a tonight show, when filling in for the legendary Graham Kennedy. She’s a descendant of Richard Morgan, one of the First Fleeters, and she even consented to be my very first guest on the STAGES podcast.
Today we remember the great ‘Lamond’ and her legacy, by replaying the episode recorded with her in 2019. She had returned to the podcast to mark the 100th episode. It is bittersweet that she returns to mark our 600th episode; but I suspect she’d be chuffed by that, having been there for episode no:1.
We are joined by her son Tony Sheldon who shares memories to honour her legacy, and then we hand it over to the Legend herself, to tell it in her own words.
Vale Toni Lamond (29/3/32-29/11/25)
The STAGES podcast is available to access and subscribe from Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Follow socials on instagram (stagespodcast) and facebook (Stages).
STAGES is joined by show pilgrims Simon Parris and Ian Phipps for a West End round-up of the musicals, plays and events they experienced on recent visits to London theatre.
Simon Parris is a Melbourne reviewer, and his appraisals of theatre locally, nationally and abroad can be found at simonparrismaninchair.com. Ian Phipps is one of Australia’s leading publicists who ensures that we are informed of the latest entertainment offerings playing around the country.
It’s always a joy to welcome them back to the STAGES podcast to appraise the theatre they have seen and recommend to us what we might pursue, should we be in any of the theatre precincts abroad.
Sit back and engage with the three of us as we investigate what’s currently on offer in London’s West End.
The STAGES podcast is available to access and subscribe from Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Follow socials on instagram (stagespodcast) and facebook (Stages).
Today on STAGES, we’re rolling out the red carpet for a truly dazzling double act — Michael Dalton and his fabulous alter ego, Dolly Diamond.
Michael’s story begins in the West End at just ten years old, playing the title role in Oliver! — and from there, he’s conquered television screens, international tours, and cabaret stages.
After immigrating to Australia in the 1980s, Michael appeared on television in popular series including Neighbours and The Henderson Kids.
Michael has a long association with The Rocky Horror Picture Show, performing in the production’s tours across Australia, New Zealand, the UK and Europe. He later toured internationally as a backup singer for Julian Clary and joined Richard O’Brien in Disgracefully Yours at the Edinburgh Festival.
Michael has built a rich career as a solo performer, appearing in venues around the world such as Oscar Wilde’s (New York), Madame Jo Jo’s (London) and Code (Copenhagen). He also appeared in the West End production of Naked Boys Singing.
Then came Dolly… the sequined sensation who’s become a fabulous fixture of the nation’s cultural landscape. She’s an ambassador, a host, a festival favourite — lighting up stages from Melbourne to Edinburgh with wit, warmth, and a wicked sense of fun. Dolly Diamond is one of Australia’s most beloved entertainment personalities. Originally from the UK, Dolly proudly made Australia her home in 2009 and has since become a vibrant fixture on the nation’s cultural and cabaret scene.
Michael and Dolly are woven into the cultural fabric of Melbourne. Through countless performances and charitable contributions, they have supported and uplifted LGBTIQA+ communities and not-for-profit organisations for decades.
The STAGES podcast is available to access and subscribe from Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Follow socials on instagram (stagespodcast) and facebook (Stages).
Susan-ann Walker is one of Australia’s favourite character Performers known for her work in Musicals, Plays, Opera, Cabaret and TV for over 35 years.
Professional Music Theatre credits include 3 LITTLE PIGS (“Mother pig” AG productions 2025), THE WEDDING SINGER (“Rosie” David Venn productions 2021-2022), SWEENEY TODD (“Mrs Lovett” cover, LifeLike productions 2018), FUNNY GIRL (“Mrs Strakosh” The Production Co 2015),
ONCE (“Barushka” Green Room Award for Best Ensemble GFO/MTC 2014-2015),
A FUNNY THING HAPPENED ON THE WAY TO THE FORUM (“Gymnasia” GFO 2012), XANADU (“Calliope/Aphrodite” Mark Pennell 2011),
HELLO DOLLY (“Dolly Levi” Magnormous 2010), MENOPAUSE THE MUSICAL (“Earth Mother” Jim McPherson 2005-2007), MAME (“Agnes Gooch” The Production Co), PINOCCHIO (‘Catch-up” Garry Ginivan productions 2001)
THE SOUND OF MUSIC (“Sister Margaretta ”GFO/SEL 1999-2001), POSSUM MAGIC (“Grandma Poss” Garry Ginivan 1997), GREASE-THE ARENA SPECTACULAR (“Jan” GFO/SEL 1998), THE SECRET GARDEN (“Martha” GFO 1996), ASPECTS OF LOVE (“Elizabeth” R.U.C 1992), GODSPELL (Sydney Opera House 1992), LES MISERABLES (Cameron Macintosh 1990-1991) and CATS (“Jenny-any-dots” Cameron Macintosh and RUC 1989, 1994-1995)
Susan-ann performed as an actor/musician in THE ISHMAEL CLUB as “Mrs Maggia” for Playbox as well as in ONCE in 2014 directed by John Tiffany (Tony award for ONCE)
Early Opera credits include THE RIME OF THE ANCIENT MARRINER “Pilot/Life in Death” VSO Youth Company, “Princess Icky-Poo” in THE DRAGON AND The MANDARIN (VSO School’s Co) and CARMEN (VSO).
Cabarets includes ,DESPERATELY SINGING SUSAN, JACQUES BREL (Green Room Award for Best Cabaret 2000), TRAGEDY, PLAY THAT FUNKY MUSIC, CONFESSIONS OF A SEX KITTEN ,YUMMY,
THE YUMMY BURLESQUE HOUR (Green Room Nomination for Best original songs), SUBTLE, TOM FOOLERY, NOT QUITE RIGHT, BIN GODDESS and in 2023, OUR NAUGHTY BITS.
TV credits include “Marlene” in GOLD DIGGERS (ABC 2023), BLUE HEELERS, MDA, WINNERS AND LOSERS, DR BLAKE, MS FISHER’S MOD, and MOONMAN
Susan-ann also originated and directed the Cabaret Project in 2003 at Federation University and in 2010 at PSA. She also has worked at the COLLEGE OF THE ARTS and in both the Classical and Contemporary departments of Monash University.
She runs her own Singing Teaching/Vocal Health studio THE VOICE PLACE and is currently working on her first full-length play with music, UKULELE JOY, after she was the recipient of 3 grants in 2024
The STAGES podcast is available to access and subscribe from Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Follow socials on instagram (stagespodcast) and facebook (Stages).
Louise Fischer has an MA in Theatre Studies from UNSW and is celebrating her twentieth year as Artistic Director of New Theatre; an independent company who staged their first production in 1933.
The theatre has mounted some 550 productions, and is one of Australia’s oldest continuously producing theatres, moving from Pitt Street to Castlereagh Street and then to Kings Cross, until finally settling in its current home on King Street Newtown in 1973.
Louise’s directing credits at New Theatre include: Ink, The Ballad of Maria Marten, Chimerica, Glengarry Glen Ross, Neighbourhood Watch, The Grapes of Wrath, August: Osage County, Australia Day, House of Games, Mother Clap’s Molly House, Enron, The Farnsworth Invention, The Crucible (which transferred to a sellout season at the Seymour Centre), Cabaret, Brand Spanking New, Honeymoon Suite, Richard III, Dancing at Lughnasa, Lemon Delicious and The Caucasian Chalk Circle.
New Theatre was set up in 1932 as the Sydney Workers Art Club, opening with the slogan “Art is a Weapon”. The first full-scale production in 1933 was The Ragged Trousered Philanthropists. It has produced plays on important political and human rights issues.
Louise’s other directing credits include: The God Botherers (Darlinghurst Theatre); Stories from the 428 (Sidetrack Theatre); Macbeth.com (Lighthouse Theatre); Project SciFi (PACT); Birthdays, Christmas & Other Family Disasters (Tunks Productions); Bedtime for Bastards (Crypt Theatre); Roadkill (Short + Sweet); The Curious Pain of Louis XIV (Seymour Centre) and Hamlet (Harlos Productions).
Louise is presently in final rehearsals with Noel Coward’s Present Laughter; a production that takes to the stage from November 11th to December 13th at Sydney’s iconic New Theatre. She joins STAGES to discuss her journey as a theatre maker, the iconic New Theatre and her role as Artistic Director.
The STAGES podcast is available to access and subscribe from Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Follow socials on instagram (stagespodcast) and facebook (Stages).
In this episode of STAGES, we’re joined by a craftsman whose work has quietly but powerfully contributed to the stories we see on screen — Set Decorator, Martin Williams.
Growing up in Albury, Martin was captivated early by the magic of the cinema. Regular trips to the local picture house sparked a lifelong love of storytelling, and it was Francis Ford Coppola’s The Outsiders that truly set him on his path toward a career in film.
Across more than 35 years in the Australian screen industry, Martin has held a wide variety of roles — from runner and driver to props buyer, carpenter, and ultimately, set decorator. His breadth of experience and deep understanding of production have earned him over 50 screen credits, spanning film and television.
His recent work includes set decoration on the features Beast in Me and The Deb, as well as popular series such as Mother and Son, CAUGHT*, Last King of the Cross, and Colin from Accounts. Earlier in his career, Martin worked on the groundbreaking Matrix trilogy — one of the first major Hollywood blockbusters to be filmed in Sydney — an experience that offered him a front-row seat to a new era of filmmaking in Australia.
Today, we step behind the camera to explore Martin’s remarkable journey, his passion for the craft, and the vital role set decoration plays in bringing stories to life.
The STAGES podcast is available to access and subscribe from Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Follow socials on instagram (stagespodcast) and facebook (Stages).
Kate Mulvany is a distinguished Australian actress, playwright, and screenwriter whose career spans theatre, television, and film. Renowned for her compelling performances and evocative writing, Kate has established herself as a significant figure in the Australian arts scene, earning critical acclaim and numerous awards.
Kate was born and raised in Geraldton, Western Australia. At university she earned a double major degree in scriptwriting and theatre from Curtin University, where she was tutored by the renowned writer Elizabeth Jolley. Her academic pursuits fuelled her passion for storytelling and acting, laying a foundation for her future career.
Amongst a vast resume of stage roles, perhaps her most acclaimed performance is that of Richard III. Her portrayal was praised for its intensity and authenticity, challenging audiences to reconsider notions of ability and theatrics. Mulvany's talent for playing historical and literary figures is further exemplified by her performances as Cassius and Lady Macbeth.
Mulvany is a talented playwright and adaptor. Her adaptation of Craig Silvey's novel Jasper Jones has been performed widely across Australia.
Her triumph in reimagining classic works is evident in her adaptations of The Harp in the South trilogy by Ruth Park and Mary Stuart by Schiller. Her adaptation of The Harp in the South was produced by the Sydney Theatre Company in 2018, bringing a fresh, feminist perspective to a beloved Australian classic.
Kate’s semi-autobiographical play The Seed, won the Sydney Theatre Award for Best Independent Production and toured nationally. It has since become a much-loved and studied Australian text. Medea, co-written by Kate and Anne-Louise Sarks was produced by Belvoir Street Theatre in 2012. Other works include The Danger Age, Blood and Bone, The Web, the musical Somewhere (music and lyrics by Tim Minchin), the oratorio Towards First Light (composition by Iain Grandage), and Storytime.
As a screenwriter, Kate co-created and wrote on the internationally-acclaimed TV series Upright, the popular ABC series Summer Love, the Emmy-winning animation series Beat Bugs, and has written two episodes of the Disney Plus series two of The Artful Dodger.
Her screen credits include leading roles in Hunters alongside Al Pacino and Jennifer Jason-Leigh; The Clearing; The Twelve; Baz Luhrmann’s Elvis; and double AACTA-nominated roles in the films Better Man and How to Make Gravy. She will soon be seen as Aunt Augusta in the Netflix adaptation of the Miles Franklin novel My Brilliant Career.
Her newest work for and on the stage stage is The Shiralee, currently playing at the Drama Theatre for the Sydney Theatre Company. Kate has adapted the iconic novel by Darcy Niland, and also plays the role of Marge, Macauley estranged wife.
Kate Mulvany’s work is a testament to resilience, innovation, and fierce creativity.
The STAGES podcast is available to access and subscribe from Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Follow socials on instagram (stagespodcast) and facebook (Stages).
Lisa Callingham is a triple threat performer and creative whose professional musical theatre credits include The Rocky Horror Show, Jerry’s Girls, Hot Shoe Shuffle, How to Succeed in Business Without Really Trying, Oscar’s Turn to Sing and What the World Needs Now.
She starred in Kookaburra Productions’ Pippin as Fastrada, Hello Again as The Whore at Darlinghurst Theatre, she played Maggie in the Australian tour of A Chorus Line, originated the role of Bonnie-Mae in Nick Enright and Max Lambert’s Miracle City for Sydney Theatre Company and was an original member of The Trio, Shena, in both the workshop and full productions of The Boy from Oz.
Most recently she was seen as Millicent Winter in Nice Work if you Can Get It at The Hayes Theatre and as the Soap Star in the 2023 National Tour of Menopause The Musical.
She appeared in Gillian Armstrong’s Starstruck and Baz Luhrmann’s Moulin Rouge. She has performed live with and recorded for Marcia Hines, Paulini, Paul Mac, Chrissie Amphlett, The Eurogliders, Rhonda Burchmore, Caroline O’Connor, Georgie Parker, Nancye Hayes, Trevor Ashley, Shane Jacobsen, Deni Hines and Christine Anu
She regularly tours with Todd McKenney and is featured on his album The Songs Of Peter Allen.
Lisa’s creative credits include Associate Director/ Choreographer on Catch Me If You Can at the Hayes Theatre, Singin’ In The Rain In Concert for QPAC/ Prospero Arts, Nice Work If You Can Get It and Tell Me On A Sunday for MGP and The Hayes Theatre. As a Choreographer, credits include the Boy From Oz 2020 Live from Lockdown video, Anyone Can Whistle for Neglected Musicals and numerous corporate events and Graduate performances.
She most recently Directed and Choreographed They’re Playing Our Song for Neglected Musicals and is thrilled to filling those roles once again for in their presentation of The Pajama Game, playing The Foundry Theatre in Sydney from November 5th to 8th.
The STAGES podcast is available to access and subscribe from Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Follow socials on instagram (stagespodcast) and facebook (Stages).
Daniel Abineri is an English actor, director, playwright, songwriter and narrator whose career has spanned theatre, television, film and music across the UK, Australia and New Zealand. He is widely recognised as the writer and composer of the satirical rock musical Bad Boy Johnny and the Prophets of Doom, which first premiered in Melbourne in 1989 and went on to ignite controversy in its 1994 London season when it was closed following protests from the Roman Catholic Church.
Born into a theatrical family, Daniel began his career in repertory theatre before appearing in a series of notable screen roles, including The Best of Enemies (ITV Playhouse), The Schoolmistress for Yorkshire TV, and as Alan Wilson opposite Tatum O’Neal in MGM’s International Velvet (1977). He gained national attention in Britain as Father Neil in the hit ITV comedy Bless Me, Father alongside Arthur Lowe, which ran from 1978 to 1981.
In 1979, Daniel was cast by Richard O’Brien as Dr Frank-N-Furter in the first UK national tour of The Rocky Horror Show. His charismatic performance led to a West End engagement, and subsequently to extensive work in Australia and New Zealand, where he both starred in and directed multiple productions of the cult musical throughout the 1980s. With more than three thousand performances to his name, he holds the distinction of being the longest-running Frank-N-Furter in the world.
Daniel became a familiar face on Australian television when he was cast as the villainous Jake Sanders in the international hit series Return to Eden. His stage career in Australia flourished with roles such as The Dentist in Little Shop of Horrors, Gary Lejuene in Michael Blakemore’s production of Noises Off, and Arnold Beckoff in Torch Song Trilogy. His dynamic stage presence and creative versatility cemented his reputation as both performer and director within the Australian theatre community.
Beyond acting, Daniel has directed and produced a number of acclaimed television documentaries, including One Hit Wonders (BBC), Walk on the Wild Side (Granada TV), which explored gender roles in pop and rock through interviews with figures such as Mick Rock, Malcolm McLaren, Pete Burns and Marc Almond, and Murder and Celebrity (UKTV). His documentary A Conversation With James Lovelock explored the ideas of the pioneering scientist behind the Gaia hypothesis.
In addition to his theatre and television work, Daniel has pursued his passion for songwriting. In 2013 he released Honey For Sale, a country/folk-rock album of original songs.
The STAGES podcast is available to access and subscribe from Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Follow socials on instagram (stagespodcast) and facebook (Stages).
Roger Bart‘s body of work extends to both the small and big screens, as well as to extensive and iconic credits on the stage.
He may be best known to theatre audiences for originating the role of ‘Carmen Ghia’ in Mel Brooks’ Broadway musical, The Producers, for which he received Tony Award and Drama Desk Award nominations, a part which he recreated in the film adaptation of the musical. He won the Tony Award and Drama Desk Award for his performance as “Snoopy” in the revival of You’re A Good Man, Charlie Brown.
In addition to originating the title role in the musical of Young Frankenstein, his other notable stage appearances include Disaster! (Outer Critics Circle Award Nomination), The Frogs, Triumph Of Love, King David, Big River, and the role of “Doc Brown” in the Broadway adaptation of Back to the Future for which he received a Tony Award nomination, following an acclaimed run on the West End where he originated the role.
He created the role of “Hades” in the NYSF/Public Theatre production of Hercules, revisiting the piece that he first brought to life as the singing voice of “Young Hercules” in the animated film’s Academy Award-nominated song “Go the Distance.”
Bart has worked extensively in television including his roles on the series Good Trouble, A Series of Unfortunate Events, Graves, Grace and Frankie, and Episodes. Other popular television appearances include Revenge, Desperate Housewives and 30 Rock.
His film credits include Office Romance, Man With The Bag, Ghost Light, Speech & Debate, and Jay Roach’s adaptation of Trumbo, as well as Last Vegas, Law Abiding Citizen, Harold & Kumar 2, American Gangster and The Stepford Wives.
Roger Bart has returned to the iconic role of Doc Brown in Back to the Future - the musical for it Australian premiere season at the Lyric theatre in Sydney. He will then tour the show throughout Australia.
The STAGES podcast is available to access and subscribe from Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Follow socials on instagram (stagespodcast) and facebook (Stages).
Maggie Dence is a celebrated Australian actress whose career has spanned more than six decades across stage, film and television. She is a beloved figure in the entertainment industry, admired for her versatility, warmth and enduring contributions to the performing arts.
Dence’s passion for performance was evident from a young age. She made her stage debut at just sixteen, beginning a professional journey that would see her become one of Australia’s most recognisable and respected performers. Training at the Independent Theatre with Doris Fitton ignited a passion that has never faded.
Her early break came with the satirical sketch series The Mavis Bramston Show in the 1960s, a groundbreaking program that reshaped Australian television comedy. The series established Dence as a dynamic talent with a flair for characterisation and comic timing, qualities that would underpin her long career.
Her screen presence grew with roles in some of Australia’s most iconic film and television productions. On film, she appeared in Ted Kotcheff’s Wake in Fright, now regarded as one of the most significant works in Australian cinema. On television, she became a household name through a string of popular dramas and serials. She was seen as Rose Sullivan in the beloved wartime series The Sullivans, and later as Bev Baker in Prisoner, where her nuanced performance enriched one of the country’s most enduring cult classics. In Neighbours, she charmed audiences as Dorothy Burke, the cultured, eccentric school principal, further cementing her place in the national consciousness. Other television appearances included guest roles in A Country Practice and other long-running staples of the small screen.
She has worked on the stages of many companies around the country in productions as diverse as Shakespeare, Chekhov, Williamson; classical, contemporary and comic. Noises Off, Away, Marjorie Prime, Mongrels, The Shoe-Horn Sonata, The One Day of the Year and Steel Magnolias encompass just a few of her triumphs.
Alongside her stage and screen work, Dence has given generously to the arts community. She has been a committed supporter of the Actors Benevolent Fund, contributing her time and profile to an organisation dedicated to assisting fellow performers in need. This philanthropic work reflects her deep sense of care for the profession and those who share it.
Her remarkable career has been acknowledged with significant honours. Dence was recognised in the Queen’s Birthday Honours for her services to the performing arts, and the Media, Entertainment and Arts Alliance awarded her an Equity Lifetime Achievement Award – a fitting tribute to a career defined by longevity, excellence and generosity of spirit.
From her early days in comedy to her iconic soap roles, her film appearances and her theatrical endeavours, Maggie Dence has been a constant and cherished presence in Australian entertainment. With a career built on talent, resilience and passion, she has left an indelible mark on the stage and screen, while also giving back to the community that supported her.
The STAGES podcast is available to access and subscribe from Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Follow socials on instagram (stagespodcast) and facebook (Stages).
Maggie Dence is a celebrated Australian actress whose career has spanned more than six decades across stage, film and television. She is a beloved figure in the entertainment industry, admired for her versatility, warmth and enduring contributions to the performing arts.
Dence’s passion for performance was evident from a young age. She made her stage debut at just sixteen, beginning a professional journey that would see her become one of Australia’s most recognisable and respected performers. Training at the Independent Theatre with Doris Fitton ignited a passion that has never faded.
Her early break came with the satirical sketch series The Mavis Bramston Show in the 1960s, a groundbreaking program that reshaped Australian television comedy. The series established Dence as a dynamic talent with a flair for characterisation and comic timing, qualities that would underpin her long career.
Her screen presence grew with roles in some of Australia’s most iconic film and television productions. On film, she appeared in Ted Kotcheff’s Wake in Fright, now regarded as one of the most significant works in Australian cinema. On television, she became a household name through a string of popular dramas and serials. She was seen as Rose Sullivan in the beloved wartime series The Sullivans, and later as Bev Baker in Prisoner, where her nuanced performance enriched one of the country’s most enduring cult classics. In Neighbours, she charmed audiences as Dorothy Burke, the cultured, eccentric school principal, further cementing her place in the national consciousness. Other television appearances included guest roles in A Country Practice and other long-running staples of the small screen.
She has worked on the stages of many companies around the country in productions as diverse as Shakespeare, Chekhov, Williamson; classical, contemporary and comic. Noises Off, Away, Marjorie Prime, Mongrels, The Shoe-Horn Sonata, The One Day of the Year and Steel Magnolias encompass just a few of her triumphs.
Alongside her stage and screen work, Dence has given generously to the arts community. She has been a committed supporter of the Actors Benevolent Fund, contributing her time and profile to an organisation dedicated to assisting fellow performers in need. This philanthropic work reflects her deep sense of care for the profession and those who share it.
Her remarkable career has been acknowledged with significant honours. Dence was recognised in the Queen’s Birthday Honours for her services to the performing arts, and the Media, Entertainment and Arts Alliance awarded her an Equity Lifetime Achievement Award – a fitting tribute to a career defined by longevity, excellence and generosity of spirit.
From her early days in comedy to her iconic soap roles, her film appearances and her theatrical endeavours, Maggie Dence has been a constant and cherished presence in Australian entertainment. With a career built on talent, resilience and passion, she has left an indelible mark on the stage and screen, while also giving back to the community that supported her.
The STAGES podcast is available to access and subscribe from Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Follow socials on instagram (stagespodcast) and facebook (Stages).
Paul White studied classical piano at The University of Adelaide with Dr Graham Williams, graduating B.Mus with Honours (Performance) followed by Dip. Jazz Performance. Conducting study began in New York with Broadway legend Gordon Harrell, then continued in Melbourne with the distinguished Romanian conductor, Robert Rosen. This juxtaposition of classical and commercially oriented study enabled Paul to build his career in a variety of musical and theatrical genres.
He has been involved with many of the landmark music theatre productions of the last 35 years, notably playing and conducting 42ND STREET (Helen Montague), WEST SIDE STORY (Victoria State Opera), LES MISERABLES (original Australia/New Zealand tour and Asia/Africa tour – Cameron Mackintosh), MY FAIR LADY (Victoria State Opera), WE WILL ROCK YOU in Tokyo (Louise Withers), MATILDA Australasian tour (Louise Withers, RSC), and The Australian Ballet’s magnificent production of AN AMERICAN IN PARIS (GWB/TAB).
He was Musical Director of A CHORUS LINE directed by Baayork Lee (TML Enterprises), OLIVER! (Cameron Mackintosh, IMG), ANNIE (Macks Entertainment, GFO), CHICAGO (IMG), GREASE (GFO), and GREASE – THE ARENA SPECTACULAR (SEL, GFO).
Other highlights include, repetiteur for an extraordinary production of MISS SAIGON in Manila, starring Lea Salonga (Cameron Mackintosh), a lovely association with The Production Company, working on THE BOY FROM OZ, LAZARUS and THOROUGHLY MODERN MILLIE, and several University productions at WAAPA, the Hong Kong APA, and the VCA.
He has also worked as Pianist/MD with such celebrated artists as Ricky May, Michael Crawford, Danny La Rue, Caroline O’Connor, Toni Lamond, Todd McKenney, Michael Cormick, Rob Guest, Julie Anthony and Simon Gallaher.
For many years Paul had a close association with the Really Useful Company Asia Pacific on their productions throughout the world, and was Musical Director for several productions of CATS, including tours with Lea Salonga and Delta Goodrem, and THE MUSIC OF ANDREW LLOYD WEBBER concert tours.
Paul is presently on tour with the feline juggernaut CATS, for it’s 40th Australian Anniversary tour and is understandably thrilled to be back with his beloved Cats!
The STAGES podcast is available to access and subscribe from Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Follow socials on instagram (stagespodcast) and facebook (Stages).
Vidya Makan grew up in Brisbane spending most of her time on the football (soccer) field with dreams of one day becoming a Matilda. However, at the age of 14 after playing flower girl number 3 in her high-school production of My Fair Lady, Vidya decided to take on a much more realistic and stable path and made the wise decision to lead a life in showbiz.
Having learnt to read music at the age of three (before she was able to read English) she is also a cellist and highly skilled pianist. She is a proud graduate of The Bachelor of Musical Theatre program at the Queensland Conservatorium, Griffith University, class of 2015.
Vidya is one of Australia's most exciting multi-hyphenates in the entertainment industry. As a leading lady, she has wowed audiences across the country through her powerful performances as Eliza in Hamilton, Catherine Parr in SIX, Ruby in Bloom and Dot/Marie in Sunday In The Park With George to name a few, all of which saw her nominated for major industry awards. In 2024 she featured on the ABC and Michael Cassel Group’s A (Very) Musical Christmas, and in 2023 she was a guest quiz master on Channel 10’s Have You Been Paying Attention.
Vidya is also a talented composer and lyricist of her own musicals. Her critically acclaimed debut original The Lucky Country opened to rave reviews in Sydney in 2023 and is being presented this October at Melbourne Theatre Company’s Southbank Theatre and then as part of the MELT festival in Brisbane. The original cast album will be released on all streaming platforms with Origin Music on August 14.
Vidya is currently in development with Queensland Theatre on a new original musical exploring the everyday lives of South Asian Australians working with collaborator Tasnim Hossain.
The STAGES podcast is available to access and subscribe from Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Follow socials on instagram (stagespodcast) and facebook (Stages).