Time Stands Still                                        OPEN REHEARSAL Sunday 7 June  3.30pm
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15 May 2015

Hello <<First Name>>,

Congratulations to Brett Turner, his Assistant Director, Adrian Valenta, his cast and crew on their wonderful production of Visiting Mr Green which ended its run last weekend. Another sold-out production meant we ran an extra matinee and the play attracted standing ovations, cheers and calls of 'Bravo'. Look out for Jennifer Paragreen's review of this production, along with a couple of background stories, appearing in this edition. No less than three women associated with the show have put pen to paper or finger to keyboard. There are pieces from Bernadette Wheatley, Shirley Sydenham and Maria Haughey.

Time doesn't stand still though and that's the title of our next production - Time Stands Still by Donald Margulies. Ellis Ebell will direct this production after successful auditions several weeks back and the announcement of his fabulous cast. The cast includes a stellar line up of three well known WLT actors, with many stage credits to their names, and one newbie who we welcome to their ranks. Cast details have been published on social media and full details appear below. World events being what they are mean that this is a very topical story with its Middle Eastern background and impacts. Barbara Hughes, as Production Coordinator, has provided an introduction to the production with all the details.

We were excited about our recent Frivolous Fashion Parade & Retro Sale which we promoted strongly and which was an outstanding success. Look out for details in this Cues & News along with some images of the assembled fashionistas!

Click on any of the links below to go straight to the article of your choice.

Time Stands Still

by Donald Margulies
Directed by Ellis Ebell
Thursday 2 July to Saturday 18 July


Time never stands still at WLT.  Mr Green hadn’t even left the building before we’d auditioned, cast and had the first read-through of our next show, Time Stands Still.

Time Stands Still revolves around Sarah, a photo journalist who has returned from Iraq after being injured in a roadside bombing, and her reporter boyfriend, James.  When they are visited by Richard, a photo editor, and his much younger girlfriend, Mandy, Sarah and James begin to re-evaluate their relationship and their way of life.

Ellis has assembled a wonderful cast for this powerful, and at times moving, play.

Front Row: Stephanie Gonelli & Rowan Howard   Rear Row: Pauline & Tim Constantine with Ellis Ebell.                                       Thanks to Tony Tartaro for this moody Vaseline lens image!

Sarah will be played by Pauline Constantine who you will remember as A Lady of Letters in our 2013 production of Talking Heads.

Tim Constantine, who is playing James, is well-known to WLT audiences for his appearances in many shows including Old Wicked Songs, Gross Indecency, Doubt and Farragut North for which he won our Cordell Award last year.
Rowan Howard makes a welcome return to WLT in the role of Richard.  The versatile Rowan appeared in three shows in 2014 – Almost, Maine, Farragut North and The Kitchen Sink.
The role of Mandy will be played by WLT newcomer, Stephanie Gonelli.  Stephanie has worked with Heidelberg in Steel Magnolias, August: Osage County and Little Murders and with Essendon Theatre Co, playing Laura in The Glass Menagerie.

Ellis and his cast will be supported by the following Production Team.
Barb Hughes – Production Coordinator/Props
Emma Hunt – Stage Manager
David Dare – Set Design  & Construction
Neil Williamson – Sound Design
Craig Pearcey – Lighting Design
Tony Tartaro – Costumes
Kay Hambling – Lighting/Sound Operation/Prompt
Roger Forsey – Technical Assistance/Photography
Janine Evans – Poster
Bob Harsley - FOH
Time Stands Still promises to be another fine production for WLT

The open rehearsal for Time Stands Still will be held at the theatre at 3.30pm on Sunday 7
th June.  Members are invited to watch part of a rehearsal then join Ellis and the cast and crew in the foyer for drinks and nibbles.  All welcome.

Barb Hughes
Production Coordinator

Visiting Mr Green Review

Williamstown Little Theatre
Visiting Mr Green by Jeff Baron

Directed by Brett Turner
Performance - Thursday 30 April 2015 (Second week)
Reviewer – Jennifer Paragreen


Mr Green didn’t have very much in his fridge but Williamstown Little Theatre certainly amassed a wonderful array of gourmet ingredients to make a delectable night of theatre in Visiting Mr Green with director Brett Turner as master chef baking to perfection the recipe provided by Jeff Baron’s engaging script.

It has to be admitted that the recipe itself is a little like one of grandma’s, a bit old-fashioned but lovingly and competently cooked. 

Jeff Baron wrote Visiting Mr Green in the mid-1990s setting it in contemporary times. The play however feels as though it is set some decades further back in time given Ross’ fear of revealing his sexuality and Mr Green’s professed naïvety about such things as American Express, surely unlikely for even a rather reclusive 1990’s Manhattan resident. 

This aside, the structure of the play provided a solid foundation with five “visits” in each act, each allowing us to develop progressively greater insight into the habits and lives of the two protagonists. The surprises were nicely paced without being blatantly telegraphed ahead of time.

Visiting Mr Green begins innocuously as a comedy about two men, an octogenarian widower and a company executive some fifty years his junior. Each is resentful at being compelled to spend time together but the play develops a more dramatic focus as the two men interact and family secrets and wounds are revealed.  The points of commonality, Jewish heritage, loneliness and, above all, fractures in family relationships, make for deeper thought.

Full marks to Brett Turner for evoking such sensitive and sincere performances from his actors.  The production was beautifully paced to make the situations and the conversations seem natural without ever a hint of caricature.

The physicality of Trevor Hanna’s performance as Mr Green was breathtaking with the stooped posture and laboured shuffle, augmented by smaller refinements such as facial tics and tiny finger movements sustained throughout the performance, adding years to his age. Vocal intonation and accent also contributed to the characterisation without ever sacrificing projection. His comic retorts were also impeccably well timed.

Kieran Tracey performed well in the less flamboyant role as Ross.  His facial expressions were very evocative and his increasing concern for Mr Green’s welfare and his exasperation at various times were clearly presented.  The description of his father’s behaviour in the restaurant was one of the most poignant and heartfelt in the play. 

The interactions between the two actors were always believable and the embrace, when it came, moved the audience with understanding and compassion.

We came to realise that Mr Green’s oft repeated statement that he and his wife “had never had an argument” had in fact stifled communication as contentious concepts, such as a Jewish daughter marrying outside her faith, were never openly discussed.

The visual aspects of WLT’s staging of Visiting Mr Green contributed markedly to its impact. George Tranter’s dingy green set established the tone well with the long serving furniture and the frugality of the fridge and cupboard contents clearly evident.

The thoughtful set dressing included huge amounts of clutter, some of which disappeared under Ross’ ministrations as the play progressed.  Much attention had gone into assembling props including food containers, the hoarded brown paper bags, cleaning gear etc.

The transformation for the final scene, with tablecloths and doilies out in anticipation of Rachel’s imminent arrival, was quite remarkable implying a change in atmosphere and attitude.

What was really interesting however was the residual – carefully placed photographs and ornaments which presumably had been there from the late Mrs Green’s time. Her presence in the widower’s thoughts was symbolized by the crocheted rug, which had always been moved between each of Ross’ visits, and the knitting bag still resolutely standing at the end of the couch at the play’s conclusion even when the rug had been neatly folded.

Wardrobe choices by Tony Tartaro were intelligent and clearly indicated each character’s trajectory with Mr Green smartening himself up along the way and Ross developing a more casual style symbolic of his becoming more comfortable in the situation.

Lighting design by Craig Pearcey complemented the play well and left a lasting impression in the play’s final moments with pin lights glowing on photos of the three women in Mr Green’s life, his mother, his wife and his daughter, plus the menorah all carefully arranged in different areas of the stage.

The production’s audio design suited the mood save for one jarring note. In Act II Scene 4 Ross arrived, looking suitably sodden, in sounds of pouring rain.  It was all very effective until the sound effect was cut abruptly, instead of faded, during the subsequent dialogue.

WLT’s staging of Visiting Mr Green was faithful to the playwright’s intentions capturing the emotional elements well and steeping the audience in concern for the two characters. Congratulations on providing yet another wonderful evening of absorbing theatre.

Jennifer Paragreen



Farewell Visiting Mr Green

I am often amazed at what is accomplished during an eight-week rehearsal period. Naturally from the director’s perspective, the planning starts much earlier as ongoing collaboration with the set designer, production coordinator and members of the production team helps to crystallise their vision of the production. 

As Production Coordinator I have been extremely fortunate to work with a selfless, committed and humourous group of people. All worked with a positive intent and rightly deserved the standing ovations and cheering received from many audiences. This production also evoked deeply emotional responses and I witnessed many audience members leaving the auditorium with tears in their eyes as they searched for tissues to help regain their composure.  

Congratulations to Director, Brett Turner and Adrian Valenta his Assistant Director on a very successful production of Visiting Mr Green. To Trevor Hanna, Mr Green and Kieran Tracey, Ross congratulations on your touching performances and we hope that you return to WLT in the future. 

Thanks and congratulations to Shirley Sydenham, Stage Manager and her crew, Maria Haughey, Robert Edwards and Erica Potts on a fantastic effort.  Special thanks to the understudy crew Emma Hunt and Tony Tartaro!! Not only did Tony act as dresser on many occasions, his contribution as Costume Designer assisted the actors in bringing their characters to life. Congratulations to Tony on yet another meticulous effort.

Thanks also to Patrick Slee and Kay Hambling, Lighting and Sound Operators and to Craig Pearcy for his sensitive lighting design. 

To Barb Hughes for organising the mammoth amount of props, many thanks. Yes, the lemon meringue pie looked so delicious Barb, some were tempted to eat it!  Thanks also to Kay Hambling, Prompt. 

Lastly a huge thank you to Brian Christopher and his set construction team workers who helped built the set. Together with George Trantor, (who designed a wonderful set, thanks George) the lives of Mr Green and Ross were able to come to life. 

The final performance of VMG is over and WLT is now on to its next venture, but I am certain VMG will remain in our hearts well beyond the eight week rehearsal period. 

Bernadette Wheatley
Production Coordinator



Let's peek backstage at VMG

As we work towards our productions at WLT we always use a shorthand acronym and thus Visiting Mr Green quickly became VMG. Thanks to Stage Manager, Shirley Sydenham and Assistant Stage Manager and Props person, Maria Haughey for these two 'fly on the wall' observations backstage at VMG.

Stage Manager's Post Script

It’s like an iceberg…what you see is supported by the unseen! Those in the shadowy world of ‘those dressed in black’ delighted in the knowledge that their work helped VMG's success even in the smallest details…a kettle boiling on cue, bags of groceries packed just so, Rachel’s letters in place, and the rest! Thank you to my fantastic backstage team … Erica Potts, Maria Haughey (both cleverly pictured with the help of mirrors which also show their running sheets!) and Rob Edwards. Erica did the food and was Kieran’s dresser and it was due to her diligence that all his costume changes (after every scene) were lightning fast… and above all, correct …and that he was carrying the right bags! Maria and Rob alternated performances and, whichever was there, their movement of the Afghan rug on the couch was a joy to behold. The teamwork was magnificent throughout the run despite Rob’s constant threat to blow a whistle from ‘the other side’ to signal that Trevor was changed and ready to begin the next scene! Ours was a big job on this show and it is entirely due to fabulous teamwork that it went so smoothly and was, of course, assisted by having beautifully self-disciplined, motivated and compliant actors!

Huge and special thanks to Tony Tartaro, Emma Hunt and Maria who several times each changed their plans and came in at short notice to stand in as Kieran’s dresser when Erica’s work unexpectedly sent her interstate followed by a nasty viral infection she caught in Canberra (as you do). Once Emma came straight from work with only a couple of hours' notice! Their willingness to drop everything and step in to help was nothing short of heroic and their superb work, together with Kieran’s, meant that there was no disruption to the show’s timing and flow.  

We were lucky to have Patrick Slee behind the wheel, well, keyboard, doing his usual superb job of operating. We were fortunate too to have Kay Hambling sitting in for Patrick on several nights. Thanks both!

Our Playwright Unusually, the performing rights for this play were organised directly with the playwright, Jeff Baron (pictured at his Skype screen with the hard-to-see WLT contingent. Our own image of us talking to him on screen was lost forever along with Bernadette's mobile just days later). I subsequently emailed him a photo of the cast and some of the team and asked for rights for an additional performance and, in response, Jeff suggested a Skype call after a rehearsal. We did so at the tech. All said "Hi," and walked him through the set and then the cast and directors had a long chat.  A repeat call was organised for after the last show but sadly the wifi was against us and we were unable to connect. We enjoyed the rare experience of being able to share face to face with the playwright our delight in this wonderful play and production.

That Afghan rug! Here goes. An answer to all those comments, questions and theories about it!  It was originally placed on the couch a couple of weeks before opening purely as a bit of set dressing when we were starting to clutter the apartment with the comment that it had been made by Yetta. So ‘her’ work basket appeared with yarns and needles. The one, and the ’Yetta made it’ theme, continued with the choice of cross-stitched tablecloth, handmade doilies and antimacassars in the final scene. We chose pictures for the walls based on ‘Yetta’s taste’ and decided that the tea set at the end was a wedding present she’d kept for ‘best’. And so Yetta became a strong presence for us all, represented by that beautiful wedding photo.  

Each scene was a week after the one before,  so much of the scene change activity was  to show passage of time. Because of the way Trevor stroked the afghan rug in the scene where Mr Green’s grief overcame him, we assumed that these moments occurred at other times too and that he’d held or moved the rug during the week. In the end, it was folded …but never put away …as the apartment became tidy and Mr Green’s health and outlook improved.  

Shirley Sydenham
Stage Manager




There's not a lot of space backstage at our little theatre.

And what space there is, well it's quickly filled with costumes on hooks and signs on walls and shoes on floors and piles and piles and piles of props. So there's not much room for an operator and a stage manager and an assistant stage manager and an actor disrobing as he makes so many exits for so many costume changes. Not much room but just enough.

There's a dressing room full of costumes and jelly snakes and a plunger filled with coffee and piles and piles and piles of props. And a dresser to make ready the costume changes and wet a raincoat. And a shirt collar. And a jacket. Oh and shoes. And when they're not being a dresser they find the time to check the props. 

There's a room with a kettle, a plastic jug and a red bowl. There's a fork and a spoon and brown paper bags labelled Fine & Shapiro. And polystyrene bowls. And plastic spoons and napkins. Paper napkins. Piles and piles and piles of them. For, they too, are props. And long before the show starts there is soup being made and peas being defrosted and tins being opened and mashed potato being created and bowls being filled (but not too much) and plastic spoons being wrapped and brown paper bags labelled Fine & Shapiro being packed. 

There's a stage that needs pre-setting. Is there water in the kettle? Is it too hot or too cold? Is the mess messy enough or should it be more messy? Have we draped the Afghan just so? Has the knitting basket fallen over? Are the curtains closed? Should the curtains be closed? Have we hung the towel? Have we untidied the books?  Have we turned off the lamp or the tap? Are the props, the piles and piles and piles of props, exactly where they should be?

There's a play that needs scene changes. And an author we thank for writing most of them into the body of the play. But there are scene changes. So you try not to spill the water when you pick up a glass. Or not to kick a briefcase that's in the same place every time. Or not to pick up the props that someone else has just left down. You try to be efficient and organised and oh so unobtrusive. And you are. For you've been well trained and the dance has been finely choreographed.

There's the end and the curtain call. And the cheers. And you start again. When the stage has been emptied of actors you start again. With the piles and piles and piles of props.

And there are people who ask you why. Why do you do it? And you can only answer honestly as you rub your exhausted eyes and you dream of quiet nights at home. Because it's fun, you say. Because it's brilliant, you say. Because you love it.

There's not a lot of space backstage at our little theatre. But there is a lot of love. 

Maria Haughey
Assistant Stage Manager & Props

Maria worked backstage with the wonderful cast and crew of Visiting Mr Green. She will forever dream of props.

Front of House Heroes

Time to salute our wonderful group of Front of House volunteers who very ably stumped up to take care of our audiences through the run of Visiting Mr Green. WLT thanks them all for their service and commitment.

Buffalo Gal Auditions


by A R Gurney

Director: George Werther 


Season: 10-26 September

Audition dates:
Sunday 5 July from 1.30pm
Monday 6 July from 7.30pm

Auditions by appointment only -                             Contact Director, George Werther  
Mobile: 0402 222 090


Please bring to the audition a completed Audition Form (CLICK HERE to download form) and a non-returnable headshot with name on the back, attached to the form.


When Hollywood diva Amanda returns to her home city of Buffalo in New York to play the lead in Chekhov's The Cherry Orchard, life begins to imitate art. Both her career and personal life are at a watershed as she revisits the world that shaped her. In the midst of rehearsals for The Cherry Orchard we are transported between the relationships and regrets of both Amanda and her alter-ego Madam Ranevskaya. This is a delightful and poignant piece which speaks to both the world of the theatre and the ephemeral nature of opportunities and choices we make over the inevitable the passing of time. 



AMANDA - "Middle-aged" (40s-50s), attractive. A Hollywood diva, who expects to be treated as such, no longer at the top of her game but somewhat in denial. Passionate about everything, including her former home town, but with a suggestion of insincerity. A somewhat larger than life character but with insecurity about her future life and career not far below the surface. She does have genuine nostalgia for her former home town and its people. Major role.

JACKIE - 30s-50s. The director of the theatre and of The Cherry Orchard. No nonsense, business-like but passionate about her theatre and its impact on her personal life. Cynical about the politics of major theatre/movies and those involved. Very significant Role

ROY - 30s-50s. The production stage manager. Also a no-nonsense person, insightful, an organiser. A lover of the spoken work. Moderate size role.

DEBBIE - 20s. The "intern" assistant stage manager. Enthusiastic (sometimes too much) tries to impress with her knowledge of the theatre scene and related issues - sometimes annoying. Significant role.

JAMES - 40s * African American. A committed actor with charm and warmth. From a poor background but has made good. Re-engages with Amanda having done drama classes together in Buffalo in their youth. A modest but high impact role. *Will consider other ethnicity; please discuss with director.

DAN - 40s-50s. A dentist, married with children, who had a relationship with Amanda when they were young. He is a romantic, somewhat unrealistic, but has fantasies of reigniting their relationship when he hears she has returned to Buffalo. Somewhat naive, a nice guy. A modest but high impact role.

The Frivolous Fashion Parade &    Retro Sale

Thanks to Barb Hughes for this report on such a frivolous but obviously fun event.


Our fabulous Fashion Parade and Retro Sale, held at the theatre on Saturday 2nd May, was great fun.  The afternoon started with the Fashion Parade.  The audience, champagne and brownies in hand, screamed with laughter and joined in the commentary as MC Barb Hughes (pictured) introduced item after item, each one more ridiculous than the last.  Our models, Shirley Sydenham, Bernadette Wheatley, Judi Clark, Maria Haughey and her friend Paula, and surprise guest Tony Tartaro gave Naomi and Kate a run for their money as they swirled and sashayed among the clutter of the Visiting Mr Green set.  Treasures from the 60s, 70s and 80s flashed before our eyes.  And, of course, no fashion parade is complete without the wedding gown, beautifully modelled by our blushing bride, Tony.

Then it was out to the courtyard and the unveiling of yet more delights.  Guests chose their new wardrobes carefully then lingered in the sunshine, catching up with old friends, nibbling on sausages beautifully sizzled by Alex Begg or chatting to Brian Christopher and Bob Harsley behind the bar.

Barb would like to thank Shirley, Bernie, Judi, Maria, Tony, Brian, Bob, Alex and Adrienne Williamson for all their hard work in getting this together.  Special thanks to Maggie McInnes who unfortunately couldn’t attend the event. Barb
 and Maggie spent many, many hours arguing over what to keep and what to let go.  A great team effort and lots of lovely space in the wardrobe department.  Thanks everyone.

Clockwise from top left - Bernadette Wheatley, Shirley Sydenham, Tony Tartaro, Group: Maria Haughey, Judi Clark, Shirley Sydenham, Bernadette Wheatley, Paula & Tony Tartaro, Judi Clark

Archive Appeal - Missing Programmes

WLT Archivist Ellis Ebell has been working hard on the archives recently and has identified a number of missing programmes from our files. If you have a copy of any of these programmes and would like to donate them back to the theatre for our records we would be very grateful and Ellis will be delighted.

Missing from our files are:

1970 The Duenna
1970 Five Finger Exercise
1970 Semi Detached
1971 The Happiest Days of your Life
2000 Terra Nova
2000 The Golden Ages
2000 The Birthday Party
2002 Tons of Money
2007 Gross Indecency
2007 Bullshot Crummond
2008 The Drawer Boy
2008 Another Antigone
2009 Life By Three
2009 A Few Good Men
2010 Glorious
2013 Talking Heads

Call Ellis 0417 393 296 or email him CLICK HERE if you have any or all of these programmes.

We have a large and significant archive recording much of our nearly 70 year history. It would be wonderful if we could fill these few gaps and complete the record.

For Pete's Sake


Ah May. The trees are changing colour, the days are getting shorter, and shiraz is taking over from beer as the tipple of choice. As the Game of Thrones creators remind us – winter is coming.

How good was Visiting Mr Green! I thoroughly enjoyed the show. Two beautiful and considered performances, sensitive direction and excellence in back-stagery. Special mention to the props wrangler; having a set full of that much stuff requires a lot of work! It all looked fantastic.

I was there on opening night. Opening nights are a funny thing; some people love them, some people would rather avoid them…..

I was speaking to friends who ALWAYS book seats for opening night. They say there is an energy attached to opening nights that you don’t get during the rest of the season. They get very excited at the thought of having opening night tickets; to be the first to see something others haven’t experienced. But I know many people who much prefer to let the show ‘bed down’ a bit before they come along. Casts and directors work really hard to ensure that the show that is presented on opening night is every bit as polished and confident as the end of the run. Perhaps those who love opening nights are just partial to the supper!!

I have worked with actors who love opening nights, and those that despise them. Those that love them talk about the buzz of running on sheer nervous energy; the excitement of the unknown and untested. Those that dislike them talk about the nausea associated with running on sheer nervous energy; and the terror of the unknown and untested.

Some directors love opening nights; watching their hard work all come together and soaking up the joy associated with sharing their art and vision and creativity with others. Other directors perceive opening night as the start of their redundancy. The degree of their success will now be in the hands of others…..

There’s a buzz around the theatre when opening night arrives. It’s such an exciting time when you see the theatre being spruced up ready for an audience, when front of house people start setting up for the new show, when the audience starts to arrive and the doors to the auditorium open for the first time. The air is a curious mixture of expectation, anticipation and trepidation. There’s nothing like it.

I’ve come to the conclusion that I love opening nights – as long as I’m not acting, directing or in the audience. How about you?

See you in the foyer!


Diary Dates

Set Construction Time Stands Still
Commences: Saturday 16 May 1pm and each Saturday following until completed.
Contact Brian Christopher for details if you are interested 0458 134 469

Bump out Time Stands Still
Tuesday 21 July from about 5.30/6.00pm
Dinner provided

Time Stands Still
By Donald Marguilies
Director: Ellis Ebell

Open Rehearsal: Sunday 7 June 3.30pm

Season: 2-18 July

Buffalo Gal
By A.R. Gurney
Director: George Werther

Auditions: 5-6 July - details elsewhere

Season: 10-26 September

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Members & Friends

I was heading down Melbourne Road a couple of weeks ago when I spotted Ella Bambery sitting outside her home 'gettin' a sea breeze from the gutter'*. Ella, our oldest member and Life Member, is well into her nineties now but shows no signs of slowing down.  She was off to her weekly hair appointment (because you've got to make an effort), then to play bridge.  She was also looking forward to Anzac Day as she is President of Williamstown Legacy. Ella comes to every WLT show and is very much looking forward to our 70th Anniversary celebrations next year.
Barb Hughes
* Ella played Emma in our 1961 production of Summer of the Seventeenth Doll


Back in February we mentioned that Life Members Ellis Ebell and Frank Page had finally moved into their new Daylesford home and we hear they're loving it. Prior to this they have lived in an 1860's Miner's Cottage called Rose Cottage. After 29 years they are finally putting it up for sale. So if anyone is hankering for that 'tree change' or just escaping to a 'weekender', here's your chance! CLICK HERE for link to property.



Now, it's a bit of a running gag around the theatre that President, Peter Newling, doesn't like musicals! He is sometimes so vociferous in expressing his distaste for theatre that sings that we are amazed and rather chuffed that we can bring you several images of Peter singing on a stage with an audience and clearly enjoying himself.  How can he live this down? The occasion, ANZAC 100, the recent Daylesford commemorative concert for the ANZAC Centenary with music from both World Wars. Those close to him tell that he was right on note with a rather pleasant voice!

The upcoming Williamstown Literary Festival was launched last week. Highly recommended. Visit for details and bookings. The festival will run over the weekend of 13th and 14th June with three pre-festival events in the week leading up to it. This year the Festival has over 40 events and over 75 guests, so there’s bound to be something for everyone. It all takes place in the Williamstown Town Hall and Library precinct. WLT stalwarts Brian Christopher, Barbara Hughes and Maria Haughey are heavily involved as you can see from this photo with Barbara jumping  into a rendition of That’s Amore as part of the launch of Stereo Stories with Salvatore Romita on the piano accordion.

Barb sings "That's Amore" with 89 years' young Salvatore at the launch of Willy Lit Fest.


Just a friendly reminder for all who have copy or material for Cues & News. Our deadline is the 7th of the month. Your cooperation is appreciated and allows us to publish each 15th of the month.

Editor: Frank Page  M. 0417 010 817  E.

Copyright © 2015 Williamstown Little Theatre, All rights reserved.

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