quote:

The release of the amateur rights to The Boy from Oz has led to a resurgence of Australian musicals.

David Spicer the manager of rights to the musical previews the year ahead.

Gavin Leahy is terrified.

The 27 year old Sydney fitness instructor and hair dresser is the man who has to fill the biggest shoes in Australian music theatre. He’s been cast as Peter Allen in the world amateur premiere of The Boy From Oz at Sydney’s Miranda Musical Society.

"It's frightening but it's exciting at the same time. First there was Todd McKenney then Hugh Jackman now me. Both were phenomenal, the whole thing is full on and exciting,” he said.

The Miranda Musical Society will stage the musical in late March/April.

It’s the most demanding role to date for the singer. He will draw on every bit of his experience. Gavin is a graduate from Brent Street Dance Studios and worked professionally on Scandinavian Cruise lines and toured in the United States with Cameron Mackintosh’s review – Hey Mr Producer.

“This role is constant and it is hectic and it revolves around one person. It is the biggest and most challenging role I’ve had and no time to relax with this,” he said.

Gavin didn’t see the Arena production last year. He almost didn’t make the original production in 1998.

“My mother bought me a ticket. I didn't realise Peter Allen wrote so much stunning music and music which has such a strong story, ” he said.

“So many tribute shows are not really well constructed. Nick Enright - the book writer - gave it just gave this a beautiful flow, I don't think it feels like it is story with songs thrown in, ” he said.

It is the same feedback which Chris Bradtke from Melbourne gives. Chris is the Director of CLOC Music Theatre’s production of The Boy From Oz in May – the Victorian premiere.

“Nick Enright's original script allows for some major directorial freedom. It is not particularly prescriptive nor is it linear, chronological or a simple narrative. It is intensely theatrical, ” he said.

“Unlike other "juke box" musicals it avoids the obvious convention of manipulative story telling that culminates in the inevitable, the song we all knew was coming from the beginning of the scene. He skillfully weaves his plot around the life and complexities of the singer/song writer himself," he said.

“ The songs and lyrics sit easily with the rhythm of the piece and with the characters as they enter and re-enter his life, be they dead or alive. It leaps, as does Peter himself, from past to present and back to past all within the familiar context of one of his energy packed concerts,” he said.

“We, as audience, continually empathise with him both as performer and as person. In fact we never really leave the concert stage where Peter nightly poured out his heart, soul and invited us into the intensity of his own life, “ he said. CLOC is pulling out all stops to produce a magnificent set for an intimate production in their 500 seat theatre.

quote:

Hi,

Sorry I don't think there will be a DVD.
Thanks for your good wishes.

David

quote:

Not quite the same!