Back to the 80’s was the culmination of talent, perspiration and inspiration and a reflection our capacity for creative thinking, imagining, problem solving. During the performance there were 741 entrances onto the stage, and costume changes beyond count. Leads played their parts slightly differently each night, and the other leads and the band adjusted beautifully. A musical is an exercise in making many important decisions quickly. Being part of a major production is a genuine learning experience for cast and crew. In building towards ‘show week’, students encountered challenges and also used problem solving skills to ensure peak performance. Each individual performer gave it their all and contributed to a fun, energetic and polished evening of musical theater.

At Mater Dei Catholic College we seek to express our commitment creating productions through some core values. We seek to offer our community productions that are of a high quality. Seven months of rehearsals and a passionate desire to make every performance count ensured each show was of a near professional standard. We seek to make our shows accessible to as many people in our community as possible through the choice of the show and how we performed it. We provided support for young dancers, singers and musicians to master their role in the musical. Giving a chance for a broad range of performers to participate meaningfully in the show. We also sought to offer collaborative entertainment. With so many complex variables occurring through production and performance the show both staff and students showed leadership and effective decision making. From deciding how a massive round turntable prop could be manouvered through 85 dancers to problem solving technical glitches as they arose, staff and students worked together to offer a fabulous show.

The Journey

Back to the 80’s began with script selection. Mr Saxon, Miss Michel, Mr Miller and Mr Heise read through numerous scripts, but settled on Back to the 80s because we felt it was a neat fit for our performers and our community. Our string of sold out shows tells us you agree.

The heart and soul of every musical is the Band, and in 2014 Mr Saxon once again put together an outstanding band. There are countless hours required for a young musician to master their craft and we were privileged to listen to a well led and polished group of young master musicians.

For this musical we had a singing cast of 22 and a Vocal Coach who constantly sought to shoot for the stars. Harmonies that did not want to work, at first, and high notes that seemed impossible to reach were all gently coached and, with growing confidence, sung beautifully. Miss Michel is to be applauded as much for the delightful sensibility she brings to a vocal performance, as she is the hundreds of times she played each part on the piano, teaching ‘young ears’ how to hear their part.

As the Director the creative vision for the show very much depended on the construction of robust and versatile props and sets. Once again Mr Gilham worked more hours than he will confess to, to deliver more than we could have hoped for. Seeing a huge white chorus of young people singing ‘We are the World’ on the stage which Mr Gilham built will be a beautifully lasting memory for each of us.

I haven’t directed a musical, nor have I attended one where the props get a laugh, but that is what happened when The Love Shack signs came out. Miss Thomson’s design and management of the artworks for the show has been outstanding. Including the assistance of students from our Art classes at the College the props used were definitely part of some of the favourite parts of the show. ‘Wokka Wokka Wokka Wokka Wokka’. We had a different cameo behind a ghost each show. Did you recognise anybody by their shows?

In the early planning stages for the musical we asked the dancers what they wanted. They said ‘We want everyone to be able to dance if they can. And. We want lots of costume changes.’ So we ended up with some dancers needing to do 15 costume changes, and an ensemble of 85 dancers. Narelle Potts in her stalwart and constantly smiling way said ‘We can do that’. And we did. Each costume was a carefully chosen piece to match the tone of the song. Narelle was ably assisted by Lisa Stackman, and Tania Smith; Jan McMullen; Lee-Ann Heise; Ana Bailey; Tanya Byrne; Ruth Fraser; Tanya Boyle; Suzanne Mooney; Kate Galbraith; Lynda Beukers; Julie Papasidero; Adele Casey; Jan Nolan and Annie Dykstra. And on each performance Yiminta Jordan and Kyle Shaw helped fit the the 18 kilts they supplied required to perform 500 Miles the way it demanded to be performed.

Jess Dunn. What a fabulously talented and delightful Choreographer, and person, to work with. In addition to supporting Miss Michel with the vocalists, Jess created marvelous small ensemble and huge ensemble dances. The transition in colour and movement from We are the World to Love Shack was mesmerising, and lots of fun. So much fun most of our audience on closing night stood up and danced to Love Shack. Thank you Miss Alsemgeest for inspiring the dance flash Mob. Jess has a passion for young people and dancing and you will see her work increasingly in the future around Wagga Wagga - look out for it.

Aleasha Potts loves the theater and, after

Back to the 80’s, the theater loves Aleasha Potts. As an Assistant Director Aleasha was required to attend all rehearsals and meetings, in addition to fielding countless texts, emails and requests for a technical or creative meeting. Aleasha has a creative mind and contributed meaningfully to how the show looks and feels but, more value was her commitment to finding a solution, to keeping her eye on the priorities, and to looking after the people she works with make her an invaluable team member. Aleasha worked closely with Jess Dunn, where they shared the different numbers in the show to provide professional standard choreography for our students to learn. From Lyrical to whole cast numbers, through to fabulously executed ‘shimmies’ taught to our College Captain Liam Dedini.

Michael Patterson and Cheyne Halloran. Michael and Cheyne had lengthy creative meetings with myself throughout the production, seeking to manifest the vision I had for the show. Michael is responsible for the camera work, and the 5 meter by 3 meter LED backdrop, that I am sure you will agree was a highlight. A close up of Tom Butt’s face measuring 2.5 meters tall is something no one was really properly prepared for. Michael provided excellent technical resources throughout the production and performance of the show, but his positive solution focused approach made it all a pleasure. Michael’s mentoring of Danielle Smith, a recent Mater Dei graduate, is indicative of his commitment to teaching and coaching others to excel. Danielle ended up being the chief technician cueing the video content in each show. Cheyne Halloran provided creative and technical consultation from the earliest imaginings of the show through to the final curtain. His eye for lighting design and relentless commitment to finding solutions make Cheyne an absolute delight to work with. Cheyne has a gift for working out his role and performing it precisely, to the point that he was able to coach Nathan Pippin to work the Lighting Desk and for our closing 3 shows, including the somewhat manic Closing show, Nathan ran the lighting without direct supervision.

Jan Hall, Nora O’Donoghue, Bec King and all of the support staff at Mater Dei Catholic College. Every time we run an excursion or do anything extra-curricular it makes your job busier. More phone calls, more questions, more permission notes, more work. Jan and Nora thank you for your vision and creation of the Program, Posters and all promotional and media activities. Our event was made more fabulous through these, thank you.

The last thing I want to do is thank the different parts of the show, starting with the dancers:

Green Ensemble: Thank you for your commitment to working together as part of our biggest ensemble ever at Mater Dei. You stole the show in numbers like Kids in America, Man in the Mirror, Love Shack and Time of Your Life. You endless enthusiasm, energy and occasional mischief made the show more fun for everyone.

Orange and Red Ensemble: Thank you for all the costume changes, and your patience when you had to rapidly dodge a hallway full of other dancers. Mostly thank-you for learning the most complex dancing we had in the show, and doing it with a smile on your faces. We talked about the dancing being a highlight of the show and your superb execution of a broad range of dancing styles ensured it would be.

The All-Stars - Eliza Kerr, Grace McLachlan Lucy Carroll, Kate Jefferies: Thank you for working as hard as any person in the show. Learning harmonies, singing solos, and doing it all with a fabulous attitude. Your voices grew in confidence, strength and quality through this show, congratulations.

Jacko’s Gang - Jackson Casey, what a superb young man you are. This is as much about your character as it is your talent. This was a challenging process for you. Your courage and quiet commitment to learning your lines, and crafting your vocals has been inspiring to be part of. Thank-you for listening and learning so well from Miss Michel and myself, and the choreographers. Ben Kenyon, what a superb young actor you are. Trust yourself Ben your understanding of how to create a character and role is fantastic. Blake Smith, thank-you for

"Mater Dei Matters"

Issue 9 · 10 Jun 2014

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