The opportunity to view ‘live’ theatrical performance from the comfort of home is an experience to which many of us have given indulgent thought. Competing with the ordeal of travel, parking and audience, especially in the time of Covid, is never an attractive proposition. However, we do so, because nothing can replace the visceral engagement of witnessing a company of performers and creatives conjure stories right there in front of us.

Living in the big cities can make this ritual commonplace; but it is a practice that is not available to many keen theatre-goers. Patrons in regional centres, immunocompromised viewers and those looking for affordable and accessible tickets are likely to miss out on the work presented by our national theatre, dance, music and opera companies.

Australian Theatre Live is a new experience of performance allowing us to see quality theatre on digital platforms while also preserving for eternity what is an ephemeral night in the theatre.

Australian Theatre Live has just launched a subscription platform for digital theatre experiences, making Australian art more accessible to all.

With a growing content library of mainstage and independent theatre, opera, dance, acrobatics and music, Australian Theatre Live captures live performance for you to enjoy on your schedule. Their fast-growing digital library is designed with everyone in mind.

The Australian Theatre Live catalogue includes theatrical experiences from Sydney Theatre Company, Griffin Theatre Company, the Australian Brandenburg Orchestra, Sydney Festival, Kings Cross Theatre, the Old Fitz and more.

“People often have this perception that recorded theatre is not as enjoyable as the live thing. However, due to the beautiful camera angles and crisp sound quality, our films offer a level of intimacy beyond that of the usual audience member’s experience. Watching an Australian Theatre Live film is like watching a play from on the stage” – Grant Dodwell, Creative Director Australian Theatre Live

Home audiences are able gain access to some of the best of what Australian theatre has to offer, regardless of your location, income, or access needs. Australian Theatre Live grants all Australians the opportunity to enjoy, critique and participate in the development of our artistic heritage.

Emma Wright is an Associate Producer with the company and joins STAGES to provide insight into this fascinating alternative to experiencing and preserving, our great performances.

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. Recipient of Best New Podcast at 2019 Australian Podcast Awards. Follow socials on instagram (stagespodcast) and facebook (Stages).

www.stagespodcast.com.au

Tahu Matheson has worked for Opera Australia since 2007. He became Head of Music for the company in 2017. He studied piano with Kalle Randalu in Germany, and with Oleg Stepanov and Natasha Vlassenko at the Queensland Conservatorium, where he completed his Master of Music. He is a frequent accompanist for international artists including Teddy Tahu Rhodes, Anthony Dean Griffey, Yvonne Kenny and Emma Matthews.

His Opera Australia repertoire includes - Conductor of Tosca, L’elisir d’amore, The Magic Flute and The Pearlfishers at Sydney Opera House; Aida on the Beach and tours of Don Giovanni. Tahu was Assistant Conductor of the Ring Cycle, Bliss, Falstaff, Otello, Rigoletto, Carmen, Capriccio, Of Mice and Men, The Barber of Seville, Lucia di Lammermoor, Werther, The Magic Flute, La Bohème, La Traviata, Madama Butterfly, La sonnambula, Orpheus in the Underworld, A Streetcar Named Desire, Billy Budd and Don Giovanni.

For other companies Tahu has conducted Kurt Weill’s The Seven Deadly Sins for Victorian Opera. This work was paired with the premiere of a new work by four Australian Composers, of the same name, but with updated subject matter and music.

Tahu has conducted many concerts including a concert performance of a new opera, Nelson, by Stuart Greenbaum in London, and a performance of Beethoven’s Ninth Symphony for 4MBS Radio in Brisbane.

He recently made his debut with the Queensland Symphony Orchestra. Tahu performed the Rachmaninov Preludes Op 23 and the world premiere of Ten Concert Studies for Piano, written for him by Edwin Carr (New Zealand International Festival of the Arts – recorded on CD for international release by Kiwi Pacific Records).

Tahu has been a soloist in the major concert venues throughout Australia and New Zealand, toured for Musica Viva and Chamber Music New Zealand, and been broadcast on New Zealand and Australian radio and television.

Through November and December Tahu Matheson conducts Opera Australia’s brand new, Sydney-exclusive open-air event, Opera on Cockatoo Island, with a gritty new production of Bizet’s much-loved Carmen, giving visitors a thrilling opportunity to experience world-class opera under the stars with stunning harbour views.

STAGES caught up with Tahu at his place of work - Opera Australia - to discover what’s in store for audiences attending Carmen, and the gateway through which he discovered his passion for telling big stories on the Operatic stage.

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. Recipient of Best New Podcast at 2019 Australian Podcast Awards. Follow socials on instagram (stagespodcast) and facebook (Stages).

www.stagespodcast.com.au

With episodes nearing 350 in the STAGES archive, it’s time to revisit conversations featured in our previous seasons. STAGES spotlights such episodes, in case you missed them the first time ‘round - or so you can simply savour, a second listen. Either way, you’ll be accessing precious oral histories from the people who were there, on and around our stages.

Nancye Hayes is synonymous with Australian show business and her presence in any show guarantees a consummate artist determined to engage, with vast skill and an extensive joy she invests in to every performance. In October, the great lady celebrated 60 years of a life ‘on the boards’.

Nancye Hayes started her professional career as a dancer in My Fair Lady. She then progressed through roles in How to Succeed in Business Without Really Trying, Hello Dolly! and The Boys from Syracuse.

She scored tremendous personal success as Charity Hope Valentine in her break-out performance in Sweet Charity, establishing herself as a bright new star. The accolades came thick and fast, leading Nancye to great acclaim and on to a career that has seen her conquer all genres and theatrical roles; on and off the stage.

She has contributed dynamically to the industry in creative roles too; as Director, Choreographer, Mentor and Teacher.

Her vast repertoire of leading and character roles has given us memorable performances as Miss Adelaide, Miss Hannigan, Madame Armfeldt, Mrs Higgins, Mrs Potts, Mrs Lovett, Aunt Eller and Lady Hotham.

Her vast repertoire of plays and musicals has given us dynamic performances in Sweeney Todd, Nine, Showboat, Pippin, The Importance of Being Earnest, Same Time Next Year, Steel Magnolias, Six Dance Lessons in Six Weeks and Mary Poppins.

Nancye Hayes is one of our great elders. Her tremendous warmth, star quality and enormous contribution to the Arts in Australia, have made her universally adored. STAGES salutes her six decades as a leading lady by revisiting this sparkling 2-episode conversation from 2020, when she visited the podcast to record her remarkable story.

With episodes nearing 350 in the STAGES archive, it’s time to revisit conversations featured in our previous seasons. STAGES spotlights such episodes, in case you missed them the first time ‘round - or so you can simply savour, a second listen. Either way, you’ll be accessing precious oral histories from the people who were there, on and around our stages.

Nancye Hayes is synonymous with Australian show business and her presence in any show guarantees a consummate artist determined to engage, with vast skill and an extensive joy she invests in to every performance. In October, the great lady celebrated 60 years of a life ‘on the boards’.

Nancye Hayes started her professional career as a dancer in My Fair Lady. She then progressed through roles in How to Succeed in Business Without Really Trying, Hello Dolly! and The Boys from Syracuse.

She scored tremendous personal success as Charity Hope Valentine in her break-out performance in Sweet Charity, establishing herself as a bright new star. The accolades came thick and fast, leading Nancye to great acclaim and on to a career that has seen her conquer all genres and theatrical roles; on and off the stage.

She has contributed dynamically to the industry in creative roles too; as Director, Choreographer, Mentor and Teacher.

Her vast repertoire of leading and character roles has given us memorable performances as Miss Adelaide, Miss Hannigan, Madame Armfeldt, Mrs Higgins, Mrs Potts, Mrs Lovett, Aunt Eller and Lady Hotham.

Her vast repertoire of plays and musicals has given us dynamic performances in Sweeney Todd, Nine, Showboat, Pippin, The Importance of Being Earnest, Same Time Next Year, Steel Magnolias, Six Dance Lessons in Six Weeks and Mary Poppins.

Nancye Hayes is one of our great elders. Her tremendous warmth, star quality and enormous contribution to the Arts in Australia, have made her universally adored. STAGES salutes her six decades as a leading lady by revisiting this sparkling 2-episode conversation from 2020, when she visited the podcast to record her remarkable story.

Sal Sharah is an actor and singer who studied at the Actors Conservatory under the tutelage of Brian Syron and Henry Bannister. He trained in singing with Dot Mendoza and Dance with Keith Bain.

Sal’s Theatre credits include the role of Sahir in Jump for Jordan (Griffin), Miss Julie (STC), Les Enfants du Paradis (Belvoir), The Rise and Fall of Little Voice (STC), Hakawati (National Theatre of Parramatta/Sydney Festival), Felliniada (Belvoir/Auto de Fe); Salome (Crossroads); My Son the Lawyer is Drowning (Ensemble Theatre); Alex & Eve (Bulldog Theatre Company) and Grace Under Pressure.

Musical theatre forays include Guys and Dolls, Aladdin, Grease, Sunset Boulevard and My Fair Lady. Sal originated the role of Riff Raff in Australia, in Harry M. Millar’s celebrated production of The Rocky Horror Show.

Sal’s Television credits include a host of classic and groundbreaking programs; The Code, Rake, Major Crime, East West 101, Water Rats, All Saints, Wildside, Heartbreak High, Mission Impossible, GP, A Country Practice and The Restless Years. His film credits include the role of Nick in The Boys (Arenafilms), Chain Reaction (Palm Beach Pictures), Iman in Alex and Eve, Section 29, Hostage and The Custodian.

Sal has navigated a rich variety of theatrical experience on stage and behind the scenes. He generously charts his career and provides unique insight of a wondrous profession, in a challenging industry, in this fascinating 2-episode conversation 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. Recipient of Best New Podcast at 2019 Australian Podcast Awards. Follow socials on instagram (stagespodcast) and facebook (Stages).

www.stagespodcast.com.au

Amelia Cormack is a New York based singer, actor, musician, voice over artist and songwriter.  She is currently Fate 1 in Hadestown on Broadway.  Originally from Australia, she has credits in theatre, film, television, voice over, and cabaret in Australia, New Zealand, the UK and US.

She was an original Diva in Priscilla, Queen of the Desert - The Musical, and performed the role in Australia and New Zealand for nearly 2 years, then went on to reprise the role on London’s West End. Most recently in Australia she performed the role of Tilly Devine in Razorhurst for the Hayes Theatre Company.

She has toured the US with Kinky Boots, Les Miserables and Come From Away, and originated the role of Raven Johnson in Douglas Lyons and Ethan Pakchar’s Beau. Most recently, she appeared in the world premiere of the online musical Your Musical is Cancelled - The Musical.

As a singer and songwriter, Amelia has released 2 self-titled albums, and is featured on the original cast recordings of Priscilla, Queen of the Desert The Musical, LOVEBiTEs and Lyons & Pakchar - Beau (World Premiere Recording). She is one half of folk/bluegrass duo ‘Cormack & Guinn’ with fellow Les Mis Tour alum Allison Guinn, and covers band ‘Pull Up the Covers’ with her husband Roger Plotz.

Amelia plays violin, piano, guitar and mandolin, and has played all her instruments in a number of concerts and actor-musician shows.

STAGES caught up with Amelia, live from New York City, to celebrate her Broadway debut.

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. Recipient of Best New Podcast at 2019 Australian Podcast Awards. Follow socials on instagram (stagespodcast) and facebook (Stages).

www.stagespodcast.com.au

Sal Sharah is an actor and singer who studied at the Actors Conservatory under the tutelage of Brian Syron and Henry Bannister. He trained in singing with Dot Mendoza and Dance with Keith Bain.

Sal’s Theatre credits include the role of Sahir in Jump for Jordan (Griffin), Miss Julie (STC), Les Enfants du Paradis (Belvoir), The Rise and Fall of Little Voice (STC), Hakawati (National Theatre of Parramatta/Sydney Festival), Felliniada (Belvoir/Auto de Fe); Salome (Crossroads); My Son the Lawyer is Drowning (Ensemble Theatre); Alex & Eve (Bulldog Theatre Company) and Grace Under Pressure.

Musical theatre forays include Guys and Dolls, Aladdin, Grease, Sunset Boulevard and My Fair Lady. Sal originated the role of Riff Raff in Australia, in Harry M. Millar’s celebrated production of The Rocky Horror Show.

Sal’s Television credits include a host of classic and groundbreaking programs; The Code, Rake, Major Crime, East West 101, Water Rats, All Saints, Wildside, Heartbreak High, Mission Impossible, GP, A Country Practice and The Restless Years. His film credits include the role of Nick in The Boys (Arenafilms), Chain Reaction (Palm Beach Pictures), Iman in Alex and Eve, Section 29, Hostage and The Custodian.

Sal has navigated a rich variety of theatrical experience on stage and behind the scenes. He generously charts his career and provides unique insight of a wondrous profession, in a challenging industry, in this fascinating 2-episode conversation 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. Recipient of Best New Podcast at 2019 Australian Podcast Awards. Follow socials on instagram (stagespodcast) and facebook (Stages).

www.stagespodcast.com.au

Mandy Bishop is a graduate of the West Australian Academy of Performing Arts. Known and revered for her deft impersonation of Australia’s first female Prime Minister, Julia Gillard; Mandy is also an actor, comedian, musician and writer of considerable accomplishment.

Commencing her career with the celebrated A cappella group Bite My Chilli, Mandy toured Australia performing concert and corporate entertainment, while also developing skills in producing and arts management.

Her theatre credits are extensive and include a variety of of repertoire; The Pillowman, Boston Marriage, Fallen Angels, Vicious Streaks, Angry Penguins and Withering Heights. On television she has been seen in Heartbreak High, Blue Heelers, All Saints, Big Sky, My Place, Rake and Drop Dead Weird.

Most recently she appeared in Anyone Can Whistle for Neglected Musicals.

Mandy has collaborated with producer Michael Bourchier on two children's television series; The Upside Down Show, on which she played the role of Mrs. Foil in every episode, and Penelope K, by the Way, on which she played the title role.

In 2011 Mandy co-wrote and created the four-part sitcom, At Home With Julia, in which she portrayed the sitting PM.

She has acted in Sydney’s legendary Wharf Revue since 2008, inhabiting a vast array of political and pop-culture characters. Each demonstrating a penetrating examination and superlative execution.

Mandy joins the Wharf Revue team of Jonathan Biggins, Drew Forsythe and Phil Scott once again as Soft Tread Enterprises presents Looking for Albanese. This much anticipated event on our calendars commences its Sydney season at The Seymour Centre from November 12th and through December.

“The world is grim - what better time to have a laugh?”

Mandy examines the craft of humour, her artistic relationship with ‘Julia’ and the joy of satire and revue in this sparkling 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. Recipient of Best New Podcast at 2019 Australian Podcast Awards. Follow socials on instagram (stagespodcast) and facebook (Stages).

www.stagespodcast.com.au

Lisa Maza is a singer, actor, writer and film-maker. It is no surprise that she has accomplished such vast artistic endeavour, growing up surrounded by theatre-makers; her father being the legendary trailblazer, Robert Maza.

Lisa made her stage debut at the age of eight, playing a little boy called ‘Pumpkinhead’ in Robert Merritt’s The Cakeman. It was the first all Aboriginal/Torres Strait Islander-run production performed at the newly formed National Black Theatre, and was directed by Robert Maza.

In 2007 she began co-writing with her sister, their autographically inspired theatre show Sisters of Gelam, which premiered at Malthouse Theatre in 2009.

In 2011 Lisa travelled to London to perform in Belvoir’s Production of The Sapphires.

In 2016, Lisa performed in Kate Miller-Heidke’s award-winning ‘The Rabbits’, a collaboration between Opera Australia and Perth-based Barking Gecko Theatre Company, adapted from the picture book by John Marsden and Shaun Tan by librettist Lally Katz.

In addition to her eclectic performance career, her theatre writing and documentary-making, Lisa has expanded her skill set along the way in a range of other areas that include theatre administration, tour managing, project management, MC work, and associate producing.

Lisa performs in the triple Oliver Award winning stage show of Emilia which is making its Australian debut at Art Centre Melbourne from 10-27 November. The production will then tour to Canberra.

Written by British playwright Morgan Lloyd Malcolm in the midst of the Me Too movement, this Australian production features a team entirely made up of women and non-binary creatives from diverse cultural backgrounds as they unite to celebrate women’s voices through the story of this trailblazing forgotten woman.

The STAGES podcast is available to access and subscribe from Spotify, Apple podcasts or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Recipient of Best New Podcast at 2019 Australian Podcast Awards. Follow socials on instagram (stagespodcast) and facebook (Stages).

www.stagespodcast.com.au