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).

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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).

www.stagespodcast.com.au

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).

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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).

www.stagespodcast.com.au

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).

www.stagespodcast.com.au

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).

www.stagespodcast.com.au

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).

www.stagespodcast.com.au

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).

www.stagespodcast.com.au

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).

www.stagespodcast.com.au

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).

www.stagespodcast.com.au