Company:

Hobart Repertory Theatre Society

Season: 20 April - 1 May 2022

Venue: Playhouse Theatre, Hobart

Written by: Joseph Robinette

Director: Shauna-Lee Ward

Stage Manager: Rogan Brown

Production Managers: Ann Harvey, Pip Tyrrell

Creative Director: Helen Cronin

PLAY OVERVIEW

This enchanting story intersperses five of Beatrix Potter’s animal stories, including favourites such as Peter Rabbit, The Tailor of Gloucester and Jemima Puddle-Duck with the tale of Beatrix Potter’s own life growing up in a strict and lonely Victorian household.  The play introduces us to Annie (Beatrix’s governess and the play’s narrator) and to Annie’s children for whom many of the stories were originally written.

Moving back and forth across time, each of the animal stories is woven into excerpts of Annie’s and Beatrix’s lives. We gain an insight into the fantasy world created by Beatrix Potter who, despite her writings and illustrations being actively discouraged, went on to become one of the most widely read children’s authors of all time.  

CAST

Jennifer White: Annie Carter Moore

Eilish Bremner Wojtowicz: Beatrix Potter

Bil Heit: Helen Potter, Hunca Munca, Farmer’s Wife

Grace Boxall: Yvette, Marjorie Moore, Jane, Trout

Roger Chevalier: Rupert Potter, Dexter

Jon Lenthall: Edwin Moore, Bodkins, Policeman, Fox

Eve Ward: Freda Moore

Louise Stubs: Jemima Puddle-Duck, Mouse 2

Audrey White: Norah Moore, Cotton-tail

Abbey Udovičić:  Mother Rabbit, Simpkin, Lucinda

Bethany Denholm:  Flopsy, Mouse 1, Rebeccah Puddle-Duck

Tay Lowry: Tom Thumb, Mopsy, Mouse 3

Adam Taylor: Tailor

Noah Sargent: Kep, Sparrow 1  

Samuel French: Peter Rabbit

Matthew Nelan: Noel Moore, Harold Warne, Sir Isaac Newton

Mike Casey: Massee

Brian Andrews: Mr. McGregor, Mayor, Mr. Jeremy Fisher

Tasman Inglis: Eric Moore, Norman Warne, Mr. Alderman Ptolemy Tortoise, Barney

Prophecy Mudzingwa: Sparrow 2, Footman, Jack Sharp, Chutney

Rogan Brown: Wellaby’s Voice, Thomas’s Voice

Because of concerns about cast and crew absences due to COVID-19, all cast also performed understudy roles.  In addition to the cast listed above, Ann Harvey and Pip Tyrrell (our Production Managers) also performed understudy roles.

PRODUCTION TEAM

Set and Lighting Design: Rogan Brown

Sound Design: Rogan Brown, Ann Harvey

Lighting Set Up: Rogan Brown, Louise Stubs

Lighting and Sound Operation: Philip Matthysz

Stage Hands: Logan Nettlefold, Sophie Coward, Elise Bagorski

Props Coordinator: Kelly King

Seamstress: Julie Raphael

Make Up: Louise Stubs

Set Construction: Rogan Brown, Roger Chevalier, Brian Andrews, Jon Lenthall, Louise Stubs

Set Painting: Rogan Brown, Mike Casey, Roger Chevalier

Scenic and Graphic Design: Carolyn Whamond

Photography: John Darby, Peter Deck, Wayne Wagg

The performances of Peter Rabbit were presented in two acts covering the period spanning 1883 to 1950.  Scenes were based in a variety of locations including Hill Top Farm, the Potter’s house, Annie and Edwin Moore’s house, the Tailor of Gloucester’s house/workshop, the Linnean Society, Mr. McGregor’s garden, a doll’s house, Warne and Company offices, Jeremy Fisher’s pond and Jemima Puddle-Duck’s farm.

The stage design involved two raised rostra on either side of the stage, contrasted to represent the Potter’s upper class house and the Moore’s more modest dwelling.  Between these two was a “book”, the pages of which resembled those from Beatrix Potter’s books, which served as a backdrop for each of the animal stories.

Company:

Hobart Repertory Theatre Society

Season: 10 - 25 June 2022

Venue: Playhouse Theatre, Hobart

Written by: Agatha Christie

Director: Scott Hunt

Stage Manager: Rogan Brown

Production Manager: Niki Robertson (until 10 May 2022)

CAST

Justin Fogg:   

Turnball:   

Carla Le Marchant:  

Jeff Rogers:   

Philip Blake:   

Meredith Blake:   

Elsa Greer:  

Miss Williams:    

Waitress:   

Waiter:    

Angela Warren:   

Caroline Crale:   

Amyas Crale:   

Sam Pyefinch

Brian Andrews

Jean Ivey

Lochie Dew

Liam Tope

Paul Dellas

Lauren Young

Jen Makin

Ami McElle

Brendon Flynn

Maddeline Clifford

Kate Vosper

Daniel Pendlebury

Noah Sargent

Brendon Flynn

Kate Vosper

Daniel Pendlebury

Kyle Enniss

Sam French

Madeline Cowley

Janet Smith

Rhiannon Jackman

Brian Andrews

Meophy Smith-Williams

Jean Ivey

Lochie Dew

Because of concerns about cast and crew absences due to COVID-19, each role was double-cast.  Each cast member performed in approximately half of the 15 performances.

PRODUCTION TEAM

Set Design:   Scott Hunt

Sound Design:   Greg Gurr

Lighting Design:   Scott Hunt

Lighting Hang and Plot:  Matthew Andrewartha

Lighting/Sound Operation: Rhiannon Jackman, Philip Matthysz

Costumes:   Robin Rheinberger, Liz Lewinski

Properties:   Ami McElle

Hair/Makeup:    Jenifa Dwyer

Backstage Crew:   Brian Andrews, cast members

Set Construction:  Rogan Brown

Photography:    Bob Linacre, Wayne Wagg

Program Editor:   Moya Deigan

Graphic Design:   Carolyn Whamond

Agatha Christie’s plays always draw big crowds. I have tried to understand their success with mixed results. Some of the things she writes make no sense at all; many of the characters seem poorly constructed and there are holes in the plots through which one might drive the Orient Express.

Nonetheless, we love her. We don’t seem to care so much about realism as drama and that, perhaps, is the key. Mystery killers knocking people off right in front of us is pretty dramatic. Bizarre assortments of characters with motive, means and opportunity — well, one of them did it for sure and we are jolly well going to stick around and find out who and how and why.

FROM THE DIRECTOR

Perhaps we go home feeling safer having seen evil thwarted and good prevail at close hand. Perhaps we experience the drama with a little less trepidation because we know Agatha will ensure the safety of the innocent and possibly even throw in a laugh.

I find her fun to direct; Agatha’s crusty characters invite all kinds of possibilities. I found this play several years ago and started pitching it to Rep because nobody stages it. Too late I studied the script and realised why. It’s a logistical nightmare. Scenes all over England and time travel no less.

Scott Hunt, Director