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Welcome to 2012!

About Us

About us

JYM theatre co. is Australia's ONLY Jewish Musical Theatre company. We are committed to high-quality productions which provide a creative outlet for our community and beyond.JYM theatre co. brings together people 18 and older who are interested in musical theatre. We are an inclusive Jewish musical theatre company, providing the opportunity for people to get involved in all aspects of musical theatre production, both on stage and behind the scenes. It's all about creativity, teamwork, friendship and fun.Since we opened with our first production, Joseph and His Amazing Technicoloured Dreamcoat, nine years ago, we have established a strong reputation for musical theatre excellence and the company continues to grow from strength to strength. Many of our cast and crew have been with us for a number of years and have developed great friendships and valuable professional contacts.JYM's 2011 production of The 25th Annual Putnam County Spelling Bee had a highly successful season, with over 1500 people attending. It attracted very favourable reviews and praise throughout the community and beyond.Our past productions include Joseph and His Amazing Technicoloured Dreamcoat (2002), Fame The Musical (2003), Little Shop of Horrors (2006), Hair (2007), Sweet Charity (2008), Cabaret (2009), The Witches of Eastwick (2010) and The 25th Annual Putnam County Spelling Bee (2011).As a not-for-profit musical theatre company, we rely on the support of local businesses and the community to fund aspects of our productions. To become one of our valued sponsors or to advertise in our 2012 Avenue Q program contact Shlom Eshel. We are grateful for the support within the performing arts community from companies such as Hal Leonard Australia.

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Current Production

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Avenue

May 2012

Tickets

tickets

Tickets for JYM theatre co.'s production of Avenue Q are not yet on sale.

Please check back here soon for booking information.

PERFORMANCES

performances

May 5-19, 2012

Phoenix Theatre, Elwood

SHOW INFO

They may look familiar, but these puppets and their human counterparts have quite an irreverent take on the joys and struggles in making it on your own. Singing puppets and their human neighbours tackle life's most vexing issues - including love, sex, money, race and how to tell your roommate he's gay. The place is New York City, and the street is Avenue Q, the only address you can afford when you're fresh out of college, or out of a job, or just trying to find your way in life.

A new musical for grown-ups.

Winner of the 2004 Tony Award for Best Musical.

*Contains mature language and situations not intended for children.

Cast

rona

Anne Gasko

Mitch

Daniel Aronov

Logainne

yakira abraham

chip

mikey gurgiel

marcy

rebecca lemish

Panch

Josh Gurgiel

cast

leaf

kyle richardson

Olive

Emma Newman

William

Harley Morrison

THE TEAM

PIP MUSHIN

Director

PHILIP SETTON

Musical Director

LUKE HALES

Vocal Consultant

YAKIRA ABRAHAM

Choreographer

PENELOPE BARTLAU

Puppet Director

YOSSI TORBINER

Production Design

ROBYN LEVIN

Costume and Props Design

SARAH WILLETTS

Lighting Design

MARCELLO LO RICCO - LSS PRODUCTIONS

Sound Designer

TAMAR LIPSHATZ

Asst. Puppet Director

DREW LANE

Repetiteur

HELEN GRAEVE

Stage Manager

SAM HORNSTEIN

Asst. Stage Manager

SHLOM ESHEL

Production Manager

SHARI COHEN

Asst. Production Manager

Production Team

Shlom Eshel - Production manager

Helen Graeve - Stage Manager

Sam Hornstein - Assistant Stage Manager

Drew Lane - Rehearsal Pianist

Shlomo Rosinger - Graphic Design

Simone Guin - Online pr

Des McMillan - Photography

Peter Turley - Set Construction

David Zimmermann - Lighting Operator

Andy Rosenberg - Followspot Operator

Omer Rosinger - microphone technician

Amanda Mu - Makeup

Liana Brener - Makeup

Kelly Saliba - Hair design

Ruth Yaffe - group booking co-ordinator

Leah Osburn - front of house

Pam Gelfand - Front of house

production team

Photos

Josh Gurgiel
Yakira Abraham
Emma Newman
Mikey Gurgiel
Emma Newman + Harley Morrison
Anne Gasko
The Cast
Yakira Abraham
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Kyle Richardson + Yak Abraham
Rebecca Lemish
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Blog

LUKE "Music in a Musical"Approaching the show this year was a much more educated and informed path than the one I took last year. The Witches of Eastwick marked my first foray into Vocal Direction and I have to say that I was very nervous. Not only did I want to prove to the rest of the creative team that I was capable in the job, I wanted to prove to myself that I could do it. Fortunately all went well and I was asked back for this years production of Spelling Bee.The vocals and music are extremely different for this show. Having only 9 characters means that every cast member must be a good vocalist as there is no ensemble to blend in with and cover mistakes. My approach however remained the same. My method of teaching a show is to do it in a linear format. That is, teach the songs in order and from start to end rather than jumping all over the place. This works for a cast where a majority of them dont read sheet music and learn by ear with the script. Also when building a harmony begin at the bottom and work up. If the lowest line is secure and confident the rest fall on top with greater ease.A major part of my job is to ensure that my singers are doing everything safely so they dont injure themselves. The voice is just like every other muscle in the body it gets tired and if not treated with care can easily be damaged. I frequently draw the comparison with that of a dancer. If a dancer does not warm up, dance with technique and warm down each time they dance then strains, tears and ligament snaps can occur. I must pay close attention to every time someone sings and correct any mishaps that occur along the way. I have been doing a lot of breath and support work with the whole cast to form a solid base from which to build more technique. Its important to take time and provide this especially for inexperienced singers.This year I have also been doing a lot of accompanying during rehearsal. This scenario has both good and bad points. On the negative side it means that I am focused on what Im playing rather than listening to the singers and ensuring what they are doing is correct. It is very easy to fall into this trap. However on the plus side it means I am very familiar with the music and I think this is essential. A Vocal Director cannot just be interested in the vocals; you need to understand how they fit with the music both melodically and rhythmically. With this information one can make informed decisions about what and how songs are sung to guarantee the directors vision comes to life.So far the process has been every bit as challenging as I thought it would be. Each rehearsal something new presents itself and requires a solution. Thinking on your feet and drawing on thousands of hours of prep work keep everything running smoothly. The beauty of live theatre is that it always changing and no two rehearsals or performances are ever the same. I hope you enjoy the magic that is William Finns Spelling Bee.

Luke Hales

Vocal Director

Shari "From the Wardrobe..."In life, one has to face a huge assortmentOf nauseating fads and good adviceThere's health and fitness, diet and deportmentAnd other pointless forms of sacrificeConversation, wit - I am a doubterManners, charm - they're no way to impressSo forget the inner me, observe the outerI am what I wear, and how I dressHave truer words ever been spoken for theatre characters? After all, before they get the chance to sing, speak or even dance, the audience members will make some judgements based purely on what the cast are wearing; be it on stage, in the program or in the publicity shots. Wealthy characters are dressed with pomp and ceremony, poor characters in simple rags. Aside from he more obvious distinctions we make based on whether actors are representing people, puppets or animals, we judge characters' ages, social stations, the era in which they're living and their personalities based on their outfits. After all, have you ever seen Annie or Oliver first appear on stage in designer outfits, actors playing children walk out in six inchstiletto heels, or Rent's Benny dressing like his homeless counterparts?With that in mind, I had great fun trying to draw out nine very distinctive personalities when dressing the Spelling Bee cast. From quiet, bookish Olive, to the free-spirited Leaf, each character has quirks, traits and their own personal take on what an appropriate outfit for being a Spelling Bee finalist really entails. So do I have favorites? Or items which have stuck out as the most challenging? (Or apologies I should make to the cast?) Of course I do! So here's a top five - in no particular order - see if you can spot them all at the show!1. Olive's jewellery. A timeless choice for any tween2. Logainne's scout scarf. A subtle yet colorful statement3. Leaf's cloak. So warm, cosy and fun!4. William's figure. Watch the show. You'll understand5. Chip's post interval accessories. Now that's one kid really comfortable with himself!Shari

SHARI COHEN

PRODUCTION DESIGNER

DREW "Drew's Musings"So, I’ve been rehearsal pianist for JYM’s 25th Annual Putnam County Spelling Bee for the last couple of months. I originally was just asked to help out with auditions, but then my good mate, Luke Hales, managed to rope me in to helping out with rehearsals … and the rest is history. Ok, so I wasn’t exactly roped in – lets just say I was a totally willing participant!Today, I’m super excited, butalso quietly packing my dacks.In less than a month, Spelling Bee opens! And why am I so nervous? Well, I’m playing the first piano part – and as most of you know, it’s a very piano based musical. I’ve had the advantage of being the rehearsal pianist for the show, so that definitely helps. But I must admit, there’s are few things that feel a little intimidating as opening night draws near:1. I haven’t played in a band in a long time, especially under a conductor, doing a musical theatre score. The last time I played in a band was with my old pub band “A Bit On The Side”. And the last time I played under a conductor? Hell, I can’t even remember! But I think that’s also what’s exciting about it. I’m going to be playing in a band, with other great muso’s and under a great conductor. While, I’m nervous, I’m also really looking forward to it – and to the band rehearsals leading up to it.2. Some of the other muso’s are from the VCA (Victorian College of the Arts) and/or at the top of their game – which means they’re going to be a hell of a lot better than me! Not that it’s a problem – it’s always better to play alongside muso’s who are more accomplished that you because you learn a lot from them. You train your ear to hear them, and learn from what and how they play. I just need to make sure that I’m as practised as I can be, and that I don’t let the side down. There’s pressure, for sure, but the leveller is that we’re all in the same boat and all in this together. And who knows, maybe I’ll be better than I thought I was! *grins*3. There are parts of the score that are waaaaay complicated. So, what’s the solution? Practice. Practice. And practice. Get it right. There are moments when I look at the notes and then look at my hands and think “Man, this guy must have really BIG hands to make that reach!”, so I adapt it. I work through what the chord or sequence is meant to be, and then adjust it so that I can successfully play the part so that it sounds like it should. Again, what I’ve found is, working the MD and Conductor, is how willing he is to help me in this area. Sure, there’s an expectation that he score will be well played, but not an expectation that it’s to be exactly dot-for-dot perfect … even if my hands can’t reach! But even with those things racing around my system, I’m really looking forward to every rehearsal and to the shows opening date on August 20. Because it’s the same challenges that I’ve mentioned above that is making this show exciting, stretching, and exhilarating. I’m working with a great cast and crew, and I feel totally a part of the whole process. I am thoroughly enjoying myself! I feel like I’ve grown through the process – and I reckon that’s one of the key things when you’re doing any show. If you’re not learning, if you’re not growing, you’re not really putting in everything you have. Coasting is easy, but growth always takes effort. And effort leads to reward. This is a deeply rewarding show on so many levels; full of humour, pathos, growing pains, and character idiosyncrasies. Every member of the cast and crew are putting in all they’ve got – you can see it in rehearsals. The harmonies sound awesome, the vocals are tight, and the actors – well, you’ll just have to see it, won’t you!?Until next time,Blog ya later!Drew

DREW LANE

REHEARSAL PIANIST

HELEN "The Low-down from the SM"Three years and three different roles. Being the stage manager this year feels a little different. I mean, at this time last year I was spending as much time as possible in the weekends scouring the second hand shops for little gems that could be used as props for the show ... this year its all different. No trawling second hand shops to tick another item off my never-ending list of impossible things to find. I feel like it is now the calm before the storm. The storm - getting the show into the theatre, ironing out all of the kinks, and getting it running like a well oiled machine .... everything we need to make our cast look fabulous. Ultimately, that is what I am here for. The rest is up to them! I think I am a talented person and I know which talents I am good at. Singing off key, being tone deaf and coordination challenged are talents that go in the 'not good' box and for that I am and always will be the gal behind the curtains. I think that is best for everyone. However, no-one told me that being stage manager and prompt for rehearsals also meant having to stand in for cast members who are missing. Seriously people don't miss rehearsals - don't make me act! Its been a hard slog over the past week, with Jem's much maligned dreaded lurgey hitting me. Can I just say, thank goodness for aloe vera tissues. Without them I think I would look like I was celebrating red nose day well past its due date. So not cool. Wanna know what is cool? The build up to seeing the second act run through. I am really excited about the effort that our cast have been putting into rehearsals .... bring it on team!

HELEN GRAEVE

STAGE MANAGER

DANIELLE "The Dancer's Dilemma"Watching Helen mark out the space for the stage of our show as we begin another rehearsal, my brain forgets all else and enters a realm of possibilities. Firstly, I guess that’s why many of us get into musical theatre. Musical theatre is a magical place where chimney sweeps tap on the roof, red head orphans sing show tunes, the boundaries between-and-around men and women collide and (unfortunately) cats come out to play. It is a place one can forget your day at work. Forget all your problems. A place one can be creative, be silly, be over-the-top without being chastised for ‘playing a kid’.Possibilities...that is what I love as a choreographer. The cast are mine to move around the stage like giant life-sized chess pieces (if only it were wizard chess). The chess board in this case is strewn with obstacles and detritus; a giant set of school bleachers, a school band, tables, chairs and microphones. The players, be they bishops or pawns are bent to my whimsy. Upstage, downstage, prompt and centre. Fast or slow. Whatever I need to bring the game to life. They are mine to manoeuvre around the board.Ok, so maybe that sounds a little too ‘evil mastermind’, but as a choreographer (and as an architect) one views space and its use rather differently. And it is often the job of the choreographer to tame and control the beast of space with its constant battle effort to remain an all-consuming empty. Let me explain: as soon as one moves an arm for example, the space one’s arm has left is now ‘empty’ again. Empty, empty, empty. Of course emptiness is not always a bad thing and can sometimes be the single most powerful thing on stage. But it is controlling what should be empty and what should be filled, that is the job of a choreographer. And how those spaces become empty and filled, is where movement comes into the picture. Space and movement have the ability to attract and distract an audience from the action. But they can also reinforce the story being played out on the stage, with a force to tear at the heartstrings or push an audience to laughing point (much like the boiling point of water, only funnier). I mean, how often does one find oneself staring ‘into space’ at a show...”oh, look how that light beams into that blackness...”(hopefully this is not because the movement on stage is extremely dull, and rather because the lighting design is so magnificent). Movement and how it holds the audience is so essential and vital to bringing to life the full gamut of human emotion required to enact a convincing performance. To perform well means the body must ‘dance’ to the character’s personal tune. “Dance...dance, my pretties....bahahaha”...ok sorry, carried away again.So after I have destroyed my wonderful Spelling Bee cast with a lovely stretch and some arm torture, it is down to business. Counts, repetition, funny beats only I can hear, the cast put up with a lot, but all in the name of dancing fun. And a good workout of course. Dancing in any show is hard to begin with. But everyone misses the dancing when the show is over (I think). Peace Out! Danielle

DANIELLE SAVIO

Choreographer

JEM1 "AAAH-PHLOOOUGH!"Bless me!Yes, it’s that time of any rehearsal period – you know the one – where almost everyone is sick with somethingorother. The lucky ones are already nearly over their coughs and sneezles, but the unlucky (read: me) are still right in the thick of it. It’s an interesting dynamic you have when the director is keeping a crisp distance from his cast because he doesn’t want to get them sick all over again. No hugs! But, if there’s a time for everyone to get sick, it’s now, rather than second dress rehearsal. Count your blessings, as they say. Now let’s just hope the cast are very good and eat all their veggies for the next six weeks.But, wheezes and splutters and all, we’ve now done our first run of Act I – and ahead of schedule! – and I must say it’s looking mighty fine. I want to bang on about this part and that part, and tell you how good “the bit with the _________” is, but I really don’t want to ruin any surprises. Suffice to say that you’ll get a bit of everything –comedy, drama, funny voices, a fatsuit, and maybe even some good old-fashioned classic music theatre tap-dancing. Maybe. And there’s the possibility of jazzhands, but no promises.That’s it from me this time, as I have a nice hot bowl of chicken soup and about forty thousand vitamin C tablets with my name on it.Cough, cough, wheeze, sneeze. Signing off. Eat your vegetables, kids.Jem

JEM Splitter

Director

Page 3

BLOG

JEM SPLITTER - "AAAH-PHLOOOUGH!"

LUKE HALES - "Music in a musical"

DREW LANE - "DREWS MUSINGS"

HELEN GRAEVE - "THE LOW-DoWN"

DANIELLE SAVIO - "THE DANCER'S DILEMMA"

Shari COHEN - "FROM THE WARDROBE"

THE CAST

Princeton - Sam Anderson

Rod - Grant Buse

Gary Coleman - Romi Freedman

Nicky - Jonathan Goldberg

Kate Monster - Emma Harris

Lucy the Slut - Courtney Krulis

Christmas Eve - Virginia Lin

Puppeteer/ Ensemble - Kelly McCosker

Bad Idea Bear - Emma Newman

Trekkie Monster - Josh Prince

Brian - Nathan Reynolds

Bad Idea Bear - Jem Splitter

LIFE ON THE AVENUE

Check out what the residents of Avenue Q have planned for 2012!

Home
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PERFORMANCES
SHOW INFO

Avenue

Past Productions

Past productions

The Witches of Eastwick

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Cabaret

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Sweet Charity

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Hair

Little Shop of Horrors

Fame - The Musical

Joseph

News and Events

News and Events

Been & Seen

Hire

JYM theatre co. maintains a large stock of various costumes, all in excellent condition.We also have props and set pieces for hire.Items include: chairs, tables, fences, flatsPlease contact Shlom on 0411 041 754 or email enquiries_jymtheatre.com
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Contact

Contact us

General and Audition Enquiries: enquiries_jymtheatre.comProducer: Shlom Eshel shlom_jymtheatre.comTicketing Manager: Alan Samuel - 0408 024 224Group bookings Coordinator: Ruth Yaffe - 9571 2915Online PR/Social Media: marketing_jymtheatre.com