Foundation Theatres is a wholly Australian owned theatre owner, operator and production investor. Their current venues are two of Sydney’s premier large commercial theatres, the Capitol Theatre and Sydney Lyric, as well as a new intimate theatre, Foundry Theatre. 

Foundry Theatre at Sydney Lyric opened triumphantly in February with five sold out performances by Tim Minchin, with audiences blown away by the venue’s incredible sound, its intimate nature, and the unique and theatrical entry through backstage passageways.

The Chief Executive Officer of Foundation Theatres is Graeme Kearns. He has led the company since 2009. Prior to joining Foundation Theatres, Graeme was Commercial Director of one of the world’s leading event production companies. 

Whilst overseeing the organisation’s theatre operations, Graeme’s primary role focuses on the development of the organisation, strategic operations, theatrical investments and programming.

He joins STAGES to discuss Sydney’s theatrical temples, his own career trajectory and the business of show.

The STAGES podcast is available to access and subscribe from Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Follow socials on instagram (stagespodcast) and facebook (Stages).

www.stagespodcast.com.au

After graduating from NIDA in 1976, Tom Burlinson’s early work in various productions for the Queensland Theatre Company, the Old Tote Theatre Company, and the State Theatre Company of South Australia included roles in The Merchant of Venice, Da and The One Day of the Year. He co-starred in Tribute for Peter Williams Productions in Sydney and Brisbane and played continuing roles in the TV series Kirbys’ Company (ABC) and The Restless Years (Grundy Organisation).

In 1981 Tom was cast in the title role in the feature film The Man from Snowy River. It was an enormous box office success, and led to Tom being offered a succession of leading roles in Australian and international films and mini-series over the next several years. These included Phar Lap, Eureka Stockade, Flesh and Blood, Windrider, Piece of Cake, and The Legend of Kootenai Brown (aka Showdown at Williams Creek) as well as The Man from Snowy River I I (aka Return to Snowy River).

In 1991 Tom sang the voice of the young Frank Sinatra in the Warner Brothers mini-series Sinatra. This was his first professional singing engagement! Soon thereafter he returned to the stage to star in the Gordon Frost production of How to Succeed in Business Without Really Trying. He was soon working on the international scene again in the mini-series The Way to Dusty Death, filmed in Europe.

In 1995 renowned theatre director Gale Edwards cast Tom in a leading role in the acclaimed workshop production of the Australian musical Miracle City for the Sydney Theatre Company. The following year he was given another chance to further develop his musical abilities in Stephen Sondheim’s Merrily We Roll Along, again for the STC.

In 1997 Tom hosted the TV series Animal Hospital for the Nine Network. He then appeared in concert at Taronga Zoo in A Tribute to Frank Sinatra. This prompted Tom to create Frank – A Life in Song, under its original title of Frank – The Sinatra Story in Song. On screen, Tom again provided the voice of Frank Sinatra, this time for the Australian feature film The Night We Called It A Day, starring Dennis Hopper as Frank.

Tom was cast in the role of Leo Bloom in the Mel Brooks’ musical The Producers, which played for more than 500 performances in Melbourne, Brisbane and Sydney during 2004 and 2005.

In May 2006, Tom was asked to return to the Star City Showroom with Frank-More from a Life in Song, a sequel to the first show, with lots of new songs from the marvellous Sinatra repertoire as well as many of the all-time favourites. 

In 2019 Tom returned to the musical theatre stage as an actor in the role of the unscrupulous lawyer Billy Flynn in the musical Chicago in seasons at the Capitol Theatre in Sydney and the Lyric Theatre, Brisbane. 

Tom Burlinson performs Still Swingin’ at the  Frankston Arts Centre on Sunday March 9th. 

The STAGES podcast is available to access and subscribe from Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Follow socials on instagram (stagespodcast) and facebook (Stages).

www.stagespodcast.com.au

A milestone passed in 2024 - one that STAGES had every intention of acknowledging… but time just got away.

It was 40 years since we saw the Australian premiere of a dynamic new production of Gilbert & Sullivans - The Pirates of Penzance.  A legendary production in the   repertoire of musical theatre on our stages, for it marked the first for many young performers - and also happened to be the first musical to occupy the Victorian Arts Centre during their Summer season.

Co-produced by Victorian State Opera, The Australian Elizabethan trust and the Victorian Arts Centre the production boasted a stellar creative team that included Noel Ferrier and Ken McKenzie Forbes as Executive Producers, Roger Barratt overseeing Lighting, Andrew Greene as Musical Director, John Scandratt on Sound, Ray Golden as Wardrobe Master and Americans John Ferraro and Craig Schaefer as Director and Choreographer.

The production showcased the extraordinary talents of Jon English as The Pirate King, Simon Gallaher as Frederic, June Bronhill as Ruth, David Atkins as the Police Sergeant and in her breakout role as Mabel Stanley, the glorious Marina Prior.

In Australia, The Pirates of Penzance has enjoyed a multitude of productions with State and National Opera Companies, G&S Societies, School productions, Amateur theatre and a further reimagined and triumphant production with Simon Gallaher’s production house - Essgee productions.

Like the STAGES celebration episode of the original Australian production of the musical vaudeville CHICAGO at 40 … here’s another STAGES composite episode garnered from conversations with many of the pirates, policemen and sisters who were a part of the legendary production of The Pirates of Penzance.

The STAGES podcast is available to access and subscribe from Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Follow socials on instagram (stagespodcast) and facebook (Stages).

www.stagespodcast.com.au

STAGES returns Sunday March 2nd! 

The STAGES podcast is available to access and subscribe from Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Follow socials on instagram (stagespodcast) and facebook (Stages).

www.stagespodcast.com.au

Haul out the holly it’s the time we adore, it’s STAGES season finale for 2024.

Throughout Season Seven we featured 81 Episodes showcasing an exciting array of stellar guests covering the gamut from on stage and back stage, to behind the scenes and front-of-house. All captivating conversations with celebrated creatives about craft and career.

In the 2024 finale episode we welcome back various STAGES regulars to acknowledge the conclusion of the seventh season of the podcast. A perfect addition to your Christmas Eve as you ready for the festivities this week and an exciting new year ahead.

This season finale episode features Mitchell Butel, Rhonda Burchmore, Trevor Ashley, Lauren Schmutter (music by Ron Creager & Tina Messina), Geraldine Turner and STAGES festive co-host, Kate Fitzpatrick. All more ready than ever to embrace exciting new adventures.

And thank you dear listeners for joining us in another year of the STAGES podcast. We wish you a very Merry Christmas and the best of times in 2025. The STAGES podcast will be back in March 2025.

The STAGES podcast is available to access and subscribe from Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Follow socials on instagram (stagespodcast) and facebook (Stages).

www.stagespodcast.com.au

Emma Matthews is currently head of Classical Voice and Opera Studies at the West Australian Academy of Performing Arts. She is Patron of the Wesfarmers Young Artist Program at West Australian Opera and is a highly acclaimed and awarded soprano. 

She has performed with all the state opera companies and the major Australian symphony orchestras; and at the Sydney, Melbourne, Perth, Adelaide and Huntington Festivals, with conductors including Vladimir Ashkenazy, Marko Letonja, Sir Charles Mackerras and Simone Young.

Emma has sung the title roles in Partenope, Lucia di Lammermoor, Lakmé, The Cunning Little Vixen and Lulu. Other roles have included Leila (The Pearlfishers), Amina (La Sonnambula), Philomele (The Love of the Nightingale) by Richard Mills, Ilia (Idomeneo), Juliette (Roméo et Juliette), Marie (La Fille du Regiment), Cleopatra (Giulio Cesare), Konstanze (Die Entführung aus dem Serail), Zdenka (Arabella), the four heroines (The Tales of Hoffmann), Pamina (The Magic Flute), Almirena (Rinaldo), Sophie (Der Rosenkavalier), Giulietta (I Capuleti e i Montecchi) and Cunegonde (Candide).

She is equally in demand on the concert platform, embracing a wide repertoire including the Requiems of Mozart, Brahms and Fauré, Mahler’s Symphony No. 2, masses by Poulenc, Villa Lobos, Haydn and Mozart, and Handel’s Messiah. Emma has also appeared as a special guest with José Carreras at the Sydney Opera House, and the New Year’s Eve Gala concerts for Opera Australia.

Career highlights include her Royal Opera House Covent Garden debut in the title role of The Cunning Little Vixen under the baton of Sir Charles Mackerras, Mahler’s Symphony no. 4 with Orchestre Philharmonique de Monte Carlo conducted by Yakov Kreizberg and with the Sydney Symphony Orchestra and Vladimir Ashkenazy, and Ismene (Mitridate) for Sydney Festival.

More recent roles include Violetta (La Traviata), Fiorilla (Il turco in Italia), Gilda (Rigoletto), the Queen of the Night (The Magic Flute) and Donna Anna (Don Giovanni) for Opera Australia and Rosina (The Barber of Seville) for West Australian Opera. 

Her recent concert appearances include the Strauss Gala for State Opera South Australia, the national tour of From Broadway to La Scala, Les Illuminations with Ensemble Liaison, Mozart arias with Sydney Symphony, Melbourne Symphony Orchestra’s Sidney Myer Music Bowl Concert and Eight Poems of Emily Dickinson (Copland) (released on disc for MSO Live in March 2014), and the ‘Jewel Song’ from Faust (Gounod)  and the ‘Mad Scene’ from Hamlet (Thomas), also with the Melbourne Symphony, Mozart Requiem and arias with the Tasmanian Symphony Orchestra, and recitals at Government House Sydney, with Ensemble Liaison and Sydney Omega Ensemble, featuring at Musica Viva’s Huntington Festival, Sydney Philharmonia Choirs’ Christmas concerts and Voices in the Forrest, Canberra as well as Duparc Songs with Simone Young and the ANAM Orchestra.

Further engagements have included The Space between the Notes, written especially for Emma by Paul Grabowsky and Steve Vizzard, at the Victorian Arts Centre; An Evening in Vienna with the Melbourne Symphony Orchestra; Leila (The Pearlfishers) and the New Years’ Eve gala concert for Opera Australia; Violetta (La Traviata); a national tour of Voyage to the Moon – a baroque opera pasticcio for Musica Viva and Victorian Opera; Messiah with Melbourne Symphony Orchestra; Stonnington Opera in the Park and recitals at Kangaroo Valley Arts Festival, Perth Town Hall, the Melbourne Recital Centre and for Recitals Australia at Ukaria. Emma also portrayed Nellie Melba, in a new play, Melba: An Operatic Drama, by Nicholas Christo, presented at the Hayes Theatre, Sydney.

Emma’s album of bel canto arias, Emma Matthews in Monte Carlo, was released by Deutsche Grammophon / ABC Classics to critical acclaim. Her album of Mozart arias with the Tasmanian Symphony Orchestra and Marko Letonja conducting was released by ABC Classics in February 2014, and her most recent recording of bel canto arias with ABC Classics and the Melbourne Symphony Orchestra (Andrea Molino conductor), “Agony and Ecstasy” was released in September 2016.

Emma Matthews returns to the Opera Australia stage in the New Year - as the Fairy Godmother in Massenet’s CENDRILLON. Marking the first time OA performs Massenet’s Cinderella (Cendrillon), Laurent Pelly’s highly acclaimed production will make its Australian debut after seasons at New York’s Metropolitan Opera and Covent Garden’s Royal Opera House, playing the Sydney Opera House from January 2nd to March 28th.

The STAGES podcast is available to access and subscribe from Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Follow socials on instagram (stagespodcast) and facebook (Stages).

www.stagespodcast.com.au

Pamela Rabe is one of Australia’s most highly regarded and awarded actors, recognised for her immense body of work on stage and screen. Canadian born, she is a graduate from the Playhouse Acting School, in Vancouver, and for the past several decades she has worked constantly in theatre across the country and around the world. 

Her work has encompassed State theatre companies and commercial theatre with dynamic performances in productions of new work and established classics that extend to God Of Carnage, Blithe Spirit, Dinner, The Misanthrope, The Marriage of Figaro, The Taming of the Shrew, A Moon for the Misbegotten, The Heidi Chronicles, The Cherry Orchard, Little Murders, As You Like It, Tristram Shandy, A Servant of Two Masters, Heartbreak House, Too Young For Ghosts, Visions, A Midsummer Night’s Dream, Medea, Top Girls, 84 Charring Cross Road, The Winter’s Tale, The War of the Roses, The Serpent’s Teeth, Gallipoli, Season at Sarsparilla, The Lost Echo, Mother Courage and Her Children, The Beauty Queen of Leenane, Holy Day, The Rover, Private Lives, Three Tall Women, Lost in Yonkers, Much Ado About Nothing, The Ham Funeral, Stronger, Miss Julie, Woman Bomb, Boston Marriage, The Apple Cart, Cho Cho San, Do Not Go Gentle, The Marriage of Bette & Boo, The Glass Menagerie, Ghosts, Footfalls, Seventeen, The Children, Les Liaisons Dangereuses and Hamlet.

Forays into the musical theatre include stellar turns in Name, Grey Gardens, A Little Night Music, Into the Woods, My Fair Lady and The Wizard of Oz.

Pamela won the 1997 AFI Award for Best Performance by an Actress in a Leading Role for the film The Well and also appeared in the films Cosi, Sirens and Paradise Road. Her work in television includes The Secret Life of Us, Mercury, The Bite, Rosehaven, CrashBurn, Stingers, Deadloch, Bay of Fires and Wentworth.

An equally accomplished Director, her productions have adorned the stages of the Sydney Theatre Company, Melbourne Theatre Company and Malthouse. They include Daniel Keene’s The Serpent’s Teeth: Citizens with The Actors Company, Elling, In The Next Room or The Vibrator Play and Solomon and Mary, Vanessa Bates’ Porn: Cake, and Jumpy by April de Angelis.

Pamela is presently on the Sydney stage with in Tracy Lett’s gothic family saga August: Osage County, playing Matriarch Violet Weston. The production plays at the Belvoir Theatre until December 22nd.

In 2025 she will direct and perform in Samuel Beckett’s Happy Days at the STC and deliver a delicious Mrs Danvers in Rebecca for the MTC.

The STAGES podcast is available to access and subscribe from Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Follow socials on instagram (stagespodcast) and facebook (Stages).

www.stagespodcast.com.au

Guy Noble is an Australian musical composer, conductor, pianist and broadcaster.

He studied piano in the early 1980s at the Sydney Conservatorium. On a scholarship from the Australia Council he travelled to London where he worked for four years, including a stint as presenter on BBC Radio 3. 

In 1984, he was pianist in the Sydney Youth Orchestra and from 1984 to 1986 in the Australian Youth Orchestra. Noble was the inaugural recipient of the Brian Stacey Memorial Trust Award for emerging Australian conductors in 1998; the trust, in collaboration with the Australian Broadcasting Corporation, financed the composition and recording of Noble's Flute Concerto, written for Jane Rutter. In 2022 he was appointed as the conductor and host of the Queensland Symphony Orchestra.

Guy Noble regularly conducts the Adelaide, Sydney, Melbourne, West Australian, Tasmanian and Queensland Symphony orchestras and has worked with the Canberra Symphony, the Auckland Philharmonia and the Malaysian Philharmonic orchestras. He has been Musical Director and Musical Supervisor for musicals including Phantom of the Opera, Sunset Boulevard, Hello Dolly!, South Pacific, Man of La Mancha, How To Succeed in Business Without Really Trying, Gypsy and the Music of Andrew Lloyd Webber.

He has recorded 12 CDs and ABC Classics in Australia has released his comedy sketch CD entitled The Guy Noble Radio Show.

He has also conducted and presented concerts with performers including Harry Connick Jr , Dianne Reeves, The Beach Boys, Ben Folds, Clive James, David Hobson, Yvonne Kenny, Teddy Tahu Rhodes and Randy Newman.

He is a former host of the ABC Classic FM radio breakfast program and he writes a regular column in Limelight magazine.

The STAGES podcast is available to access and subscribe from Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Follow socials on instagram (stagespodcast) and facebook (Stages).

www.stagespodcast.com.au

It’s the time of year where folk are jetting off on holidays - a key destination for many theatre fans is to head to the West End of London or the bright lights of Broadway - theatre precincts which guarantee excitement and awe.

Two gentlemen who make their own annual pilgrimage to the Great White Way or the West End -  are ‘Man in Chair’ Simon Parris, and Publicist Ian Phipps. The two theatre aficionados join the STAGES podcast regularly to offer a round-up of the shows they’d seen on recent trips to the theatre meccas. 

They offer abundant tips regarding what to see and how to secure tickets … so, they’re back again - this time to appraise their recent trips to New York and the Broadway season looming - a delicious appraisal of what is on, what has been, and what we can expect to see in coming months.

We also look at the abundance of musical offerings locally in 2025.

Simon Parris is a theatre reviewer based in Melbourne. His review blog ‘Man in Chair’ regularly reviews musicals, plays, opera and the arts. Access to these reviews can be found at simonparrismaninchair.com

Ian Phipps is one of Australia’s leading publicists, promoting theatre and its stars around Australia. If you know that a show is happening, no doubt it’s because Ian has communicated this to you via a myriad of masterful means.

The STAGES podcast is available to access and subscribe from Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Follow socials on instagram (stagespodcast) and facebook (Stages).

www.stagespodcast.com.au

Roger Hodgman is a freelance theatre and screen director.

He was Artistic Director of the Vancouver Playhouse for four years and Melbourne Theatre Company for twelve.  He has worked in drama schools in the UK, Canada, New Zealand and Australia – including five years as an acting teacher and director at the East 15 School in London, two years as Director of the Playhouse Acting School in Vancouver and four years as Dean of Drama at the Victorian College of the Arts.

He has directed over 150 stage productions for numerous companies including MTC, STC, STC of S.A, QTC, Black Swan State Theatre Company, Shaw Festival (Canada), TML Enterprises, Australian Opera, New Zealand Opera and Victorian Opera.

He has received Green Room Awards for Best Director in the Theatre, Opera and Music Theatre divisions and a Helpmann for best director (Musical) and numerous nominations. Productions he has directed have won Green Room, Sydney Critics and Helpmann Awards for best production for Theatre, Musical and Opera.

Many of his stage productions have toured Australia including Skylight (described by the Sydney Morning Herald as one of the stage highlights of the 1990s), Art, Private Lives and successful commercial productions of Chitty Chitty Bang Bang and Fiddler on the Roof.  He counts numerous Shakespeare productions and a number of Stephen Sondheim productions as highlights of his career, along with working in Canada with Tennessee Williams on two new plays.

He directed many productions for The Production Company from its second show, She Loves Me to the last, Ragtime. Others include Grey Gardens (Helpman Award) Follies, Showboat, Curtains, A Gentleman’s Guide to Love and Murder and Dirty Rotten Scoundrels (which also had an acclaimed separate commercial production in Sydney). 

His productions for Victorian Opera have been very varied – most recently Banquet of Secrets (by Paul Grabowsky and Steve Vizard), Nixon in China, Parsifal and The Who’s Tommy.

Since leaving MTC in 2000, he has also worked as a screen director, directing over 80 hours of TV Drama including Stepfather of the Bride (Chicago Film Festival Award for Best Telemovie), many episodes of A Secret Life Of Us (AFI nomination for Best Director), Lockie Leonard (BAFTA nomination and AFI Award for Best Children’s Series, Mustangs,, A Place To Call Home (first episode) and Wentworth.

He has served on many committees including the Board of NIDA, Drama Committee of the Australia Council, Cultural Advisory Committee for Melbourne City Council (Chair), Advisory Committee to the Victorian Ministry of The Arts, Victorian Premier’s Literary Awards (Chair of Drama panel), Vic College of the Arts Board and the Artistic Directorship of HotHouse Theatre.

He currently lives in Tasmania with his wife, Pamela Rabe, and has been directing an annual Shakespeare production in Hobart, and frequently travelling interstate to work.

He was awarded an AM in 2023 for his services to theatre in Australia.

Melbourne-born, Suzanne Jones embarked on a career in main stage live entertainment after completing degrees in economics and music. She got her start in the entertainment industry as a sound engineer at Arts Centre Melbourne, which soon led to the role of Head of Sound for System Sound, touring large-scale music theatre productions around Australia and Asia.

After a hiatus of several years to explore other industries and interests – including a successful stint as a stockbroker – Suzanne’s love of live entertainment ultimately drew her back, joining the team at the Gordon Frost Organisation. During her time with GFO Suzanne produced dozens of Australian tours in various capacities, which provided the blueprint for her own dynamic and rewarding career pathway.

A dynamic commercial executive in the world of theatre and live events, Suzanne has drawn on her close connections with some of the world’s foremost creators of live entertainment and a global network of trusted promotional partners to deliver the world’s most loved and most prestigious productions to audiences in Australia and across the globe.

Her unerring commitment to bring the most iconic music theatre productions and live events to Australia has helped showcase the exceptional talent pool that exists in this country, across performance, design, technical and commercial roles, while delivering a positive social and economic impact.

Forming her own company, JONES, in 2017 was the culmination of this experience. It is under this banner that Suzanne co-produced the Australian tours of the Andrew Lloyd Webber production of The Wizard of Oz, Chicago The Musical, Pippin, 9 to 5 The Musical, Madagascar, 2:22 A Ghost Story. 

Recent productions have included the brand new interactive magic show Metaverse of Magic, the current tour of Chicago The Musical and the Australian premiere of Peter and the Starcatcher. 

Inspired by the idea that theatre has the capacity to transport the audience, Suzanne is committed to producing shows which offer audiences an opportunity to transcend everyday life to spend a few hours experiencing exciting new possibilities that shift their thinking. 

Suzanne is also motivated to contribute to her community and to act as a mentor for young, disadvantaged LGBTQI+ people by helping them to access opportunities that might otherwise seem out of reach.

In 2025 JONES Theatrical Group is looking forward to presenting Hadestown with our wonderful partners at Opera Australia as well as the return of the smash hit musical The Book of Mormon.

Suzanne lives in Sydney with her wife, Leone, and their dog, Boots.

The STAGES podcast is available to access and subscribe from Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Follow socials on instagram (stagespodcast) and facebook (Stages).

www.stagespodcast.com.au