CLOC Musical Theatre is one of Victoria’s largest and most successful non-professional music theatre companies. Established in 1964, CLOC commenced performing in church halls and on school stages prior to moving to the Alexander Theatre at Monash University with its 500 seat auditorium. After performing for 38 years at the Alexander Theatre, in 2010 CLOC relocated to its current performance venue – the historical 783 seat ‘The National Theatre Melbourne’ in St Kilda.

Implicit in the objectives of CLOC (listed below) is the desire to create and present the highest quality non-professional music theatre, while at the same time ensuring the long‑term economic viability of CLOC Musical Theatre Inc.

  • Promote an appreciation of the arts – particularly live theatre – within the community.
  • Present public performances of live theatre, concerts and any other activity which promotes the arts.
  • Encourage, assist and develop the full range of talents associated with the development of the arts.
  • Achieve the highest possible production standards with the resources available.

Since its inception, CLOC has staged over 100 productions ranging from operettas such as Die Fledermaus (1971) and The Merry Widow (1975) to contemporary classics like Hello Dolly (1981), A Chorus Line (1998) and West Side Story (2001) to period pieces like A Little Night Music (2000), Jekyll & Hyde (2005) and The Scarlet Pimpernel (2006) to Australian works, such as SHOUT! (2007), The Boy from Oz and Hot Shoe Shuffle (both 2008). Moreover, the company has presented several firsts in Melbourne (and sometimes Australian) non-professional theatre. In 1983 CLOC premiered Stephen Sondheim’s Sweeney Todd – the first professional or non-professional production in Australia. Other non-professional premieres followed: Annie (1985), Evita (1987), 1776 (1988), Sunday in the Park with George (1992), Les Miserables (1993), Song & Dance (1997), Singin’ in the Rain (1998), Steel Pier (2005), Cats (2006), The Boy From Oz (2008), Hot Shoe Shuffle (2008), Miss Saigon (2009), Dusty, the Original Pop Diva (2010) and Sunset Boulevard (2012). In May 2013, CLOC presented the WORLD non-professional premiere production of The Phantom of the Opera.

In 2014, CLOC celebrated its 50th year and 100th production with a nod to both the past and present – its 100th production was a revival of one of its biggest hits 42nd Street (which it had previously produced to great acclaim in 1996), followed by the Victorian non-professional premiere of the modern mega-hit Legally Blonde. 2015 and 2016 continued a mix of old and new with Mary Poppins (May 2015), The Drowsy Chaperone (Oct 2015), the Australian non professional premiere of WICKED (May 2016) and a new reimagined and highly successful production of the classic Jesus Christ Superstar.

2017 marks a momentus occasion for CLOC with acclaimed director Chris Bradtke returning to direct Les Misérables in May, just as he did in October 1993.

CLOC is a large and sophisticated organisation – one that continually strives to achieve the highest quality outcome for each production. As well as attracting an audience of up to 20,000 people each year, CLOC also provides and hires sets, costumes, props, personnel and advice to other theatre companies, both here and across the Tasman. CLOC’s reputation is such that often a show’s sets and costumes can travel throughout Australasia for up to two years (as happened with Phantom of the Opera, and is currently happening with Mary Poppins and WICKED).

Against a background of challenging economic times, and often with considerable competition from professional productions, CLOC has maintained and strengthened its reputation as a producer of first-class yet affordable musical theatre – firmly believing that “while there is a paying audience there is no such thing as amateur”.

2017 CLOC Musical Theatre Committee

President | Cameron Osborne
Administrator | Sandra Davies
Secretary | Peter Thompson
Treasurer | Grant Alley

General Committee | Patsi Boddison, Janet Cameron, Carol Humphrey, Debbie Osborne, Melinda Peebles, Jon Sebastian

CLOC has a reputation for prudent economic management. The organisation is financially stable and very well managed. A major reason for CLOC’s sound fiscal position is the stability and strength of the administration. Over the years the committee has benefited from both a continuity of skills and experience and an introduction of new expertise and knowledge.

A strong commitment to successful business principles, an ongoing search for new talent and a committee structured to train new members and utilise existing experience has seen CLOC not only survive, but continue to grow and strengthen in a competitive, high-risk environment. The CLOC management committee is made up of a President, Administrator, Treasurer, Secretary and six Ordinary Members. The CLOC committee operates on a portfolio and sub committee structure to spread the work load and ensure that the talents of company members and the full range of community volunteers, not only the main committee, are fully utilised in the management and future direction of the company.

The President is responsible for the strategy and long term viability of the organisation and the Administrator is responsible for the day to day operation of the company while also providing appropriate management support and liaising between the portfolio and sub-committee areas.

Portfolio responsibilities encompass marketing; finance; personnel; production planning; production management and aim to fulfil two objectives:

To ensure that current business requirements are met; and to determine future directions and implement relevant strategies. All members of the CLOC Company Management are volunteers and offer their time freely for the advancement of CLOC in the community.

The CLOC production team is highly skilled and represents all aspects of musical theatre. CLOC’s production manual runs to several hundred pages and includes a comprehensive organisation structure, complete position descriptions for every facet of production and a detailed schedule covering every stage of production from inception to final night.

With a reputation as one of the most successful non professional musical theatre companies in Victoria, productions invariably attract talented directors, musical directors, choreographers and designers – plus hundreds of gifted performers. In addition, an active recruitment and training program brings new artistic, technical and administrative input to the company.

Affordable, Quality Musical Theatre

CLOC is committed to providing high quality Musical Theatre at the lowest possible price to the community in general. CLOC’s pricing policy is structured to assist and encourage both the family units and the disadvantaged with particular emphasis on children and the elderly. Current pricing for tickets is between one third and a quarter of the price being charged for similar quality professional shows in City theatres.

Community Involvement

Along with the large number of people from the community who are able to experience high quality musical theatre, CLOC also provides involvement for between 150 to 200 people in each production covering all facets of theatre including activities such as acting, singing, dancing, costume design and making, set design, making and painting, properties, hairdressing, make-up, orchestra, advertising and marketing, ticket sales, directing, stage managing, transport, ushering, etc.

Training

CLOC is recognised by both professional and non professional theatre along with secondary and tertiary institutions as playing a significant training role in all facets of theatre including on stage, back stage and administration. Over the years a number of young performers & production personnel have started working with CLOC before graduating to professional theatre.

Support for Schools

As well as involving students from schools in all facets of our productions, CLOC also provides many other services to schools such as costumes and properties, technical assistance and advice along with provision of expertise to assist staging school productions and skilled people to act as guest lecturers in all facets of theatre.

CLOC assists schools by building scenery for them and provides work experience for students. CLOC also provides highly discounted tickets for school groups and offers theatre tours with expert commentary covering all aspects of the productions.

Community Service

Over the years, CLOC has contributed to the community through direct donations to local hospitals and other community organisations by providing expertise and performing talent to local Councils, benefit organisations, schools and churches for the staging of concerts and other types of live productions.

CLOC’s involvement has ranged from providing scenery, properties and costumes, to arranging for performers and totally organising and managing the productions. Examples of these have been a series of community, charity and mayoral concerts and events for the Moorabbin, Dandenong, Malvern and Kingston City Councils and a series of concerts for Heart Beat.

CLOC was in 2007 as City of Kingston Community Group of the Year for community involvement.

CLOC provides training in all aspects of theatre technology. Highly experienced CLOC personnel supervise and assess students in the practical placement modules at tertiary educational institutions as well as work experience at secondary colleges.


In 1998 CLOC further recognised and encouraged the work of tertiary students by introducing an award for costume design at Swinburne University. The winner for 2001, Miranda Kalgovas, a final year Diploma in Theatre Technology-Costume student, created a series of striking contemporary designs for Chicago, for which she was nominated for Best Costume Design by the Music Theatre Guild of Victoria. She has since gone on to design costumes for several music theatre companies as well as CLOC, and has been the recipient of both nominations and awards for Costume Designer of the Year by the Guild. Similarly, Kelly Farrow, also a Swinburne Costume Design Award Winner, was nominated in 2005 for her Costume Designs for CLOC’s production of Steel Pier and worked with CLOC as Costume Co-ordinator for several years.


A production requires about two hundred people and there are opportunities for individuals to perform on stage or work behind the scenes. CLOC provides both theoretical and hands-on experience in every facet of theatre: set design, set construction and painting, costumes, props, hairdressing, orchestra, advertising, administration, stage management, choreography and directing. Indeed, CLOC productions are a fantastic way to gain experience while waiting for that “big break”.


CLOC’s achievements in education and training are evidenced by the successful careers of so many members in professional theatre. Suzanne Johnston, who started with CLOC as a chorus girl at the age of 16, and John Wegner, who started with CLOC as a young man, were CLOC performers before joining the Australian Opera as principals.


CLOC also provides the opportunity for many professional theatrical people to participate either on stage or in various aspects of productions on a totally voluntary basis, thus passing on their knowledge and skills to those starting out. Donald Cant who played the title role in the Sydney season of Phantom of the Opera and Gary Baade who was Jean Val Jean in the touring season of Les Miserables, are just two of the professionals who have returned to CLOC to perform in a non-professional capacity.


At the secondary level, CLOC provides a wide range of services to schools including: heavily discounted rates for the hire of costumes and props; technical assistance; guest lecturers; administrative and organisational know how.


CLOC is an integral part of the Victorian arts industry. Its strong commitment to presenting high quality musical theatre is evidenced by the profile of its performers and technicians. CLOC attracts over four hundred auditionees each year ranging in age from 15 to 72 with an average age of 28. Many of CLOC’s performers and backstage workers are young. Each one is given every opportunity to fully participate in the many dimensions of contemporary musical theatre.

With ticket sales the major source of income, a successful marketing strategy is the sine qua non of CLOC’s survival and growth. CLOC’s comprehensive computerised database includes information on over ten thousand preferential patrons and is the basis for on-going market analysis, direct mail and telemarketing, customer surveys, policy reviews and strategic planning.

CLOC advertises in city daily papers, suburban weeklies, theatre magazines, trade journals, programs and other relevant publications. Wide use is also made of handbills, postcards and radio interviews. Finally, CLOC actively encourages the attendance of critics and values the contribution they make in selling productions and in assisting CLOC to achieve the highest possible standards of creativity, originality and presentation.

Over the years, the CLOC program has evolved from a flimsy gestetner produced, hand and type written give away into a graphically designed, printed, souvenir sales document containing professionally researched and written copy, photographs and advertising.

.

CLOC has over 10,000 current Registered Preferential Customers on our database which generates between 10,000 – 16,000 customers who attend CLOC productions each year. CLOC’s Preferential database is constantly culled, but continues to show steady growth through the addition of approximately 300 new customers per show. A number of theatre critics, theatre managers, producers and agents travel from around Australia to view CLOC productions and the talent performing.

CLOC’s customers come from right across the metropolitan area and includes country and interstate. The audiences are made up of approximately 40% Adult, 37% Concession, 17% Organisations and 6% Children. Our registered Preferential Customers fall into the following age ranges :

15 – 25 yrs 3%
26 – 35 yrs 7%
36 – 45 yrs 14%
46 – 70 yrs 71%
70 + yrs 5%

CLOC’s productions consistently return the budgeted attendance, and more often than not, significantly exceed budgeted attendance expectations.

CLOC Musical Theatre maintains an excellent track record as a financially stable company through sound financial planning and management. As a totally non-professional, non-profit organisation with no external funding. CLOC has always strived to produce professional quality shows with ticket prices set at a fraction of professional theatre to enable all areas of the community to enjoy top quality theatre.

CLOC adopts a conservative approach in producing shows on a tight budget to return small profits so as to enable the ongoing growth of the company, and to occasionally be able to produce shows for reasons apart from their ability to draw large audiences as opportunities present themselves. (eg purely artistic merit)

While remaining conservative in budgeting for productions, care is always taken to consider the specific requirements of each production and realistically budget sufficient funds, within the overall resource available, to ensure the highest possible standard of production is achieved.

2017: Les Misérables | A Chorus Line

2016: WICKED | Jesus Christ Superstar

2015: Mary Poppins | The Drowsy Chaperone

2014: 42nd Street | Legally Blonde

2013: The Phantom of the Opera | Guys and Dolls

2012: Sunset Boulevard | All Shook Up

2011: Fiddler on the Roof | Aspects of Love

2010: Dusty | Man of La Mancha

2009: Miss Saigon | High Society

2008: The Boy From Oz | Hot Shoe Shuffle

2007: SHOUT | Blood Brothers

2006: The Scarlet Pimpernel | CATS

2005: Jekyll & Hyde | Steel Pier

2004: Mack & Mabel

2003: Gigi | Pippin

2002: Hot Mikado | My One and Only

2001: West Side Story | Chicago

2000: Anything Goes | Little Night Music

1999: Gotta Sing! Gotta Dance | Crazy For You | Company

1998: Singin’ in the Rain | A Chorus Line

1997: Song & Dance | CHESS

1996: 42nd Street | City of Angels

1995: Barnum | A Funny Thing Happened on the Way to the Forum

1994: Into the Woods

1993: Funny Girl | Les Misérables

1992: Can Can | Sunday in the Park With George

1991: Sweet Charity | Kiss Me Kate

1990: Carousel | Mame

1989: George M! | Silver Celebration

1988: Bye Bye Birdie | 1776

1987: Pajama Game | Evita

1986: Cabaret | Follies

1985: South Pacific | Annie

1984: Something to Sing About | Irene | Foiled by an Innocent Maid

1983: Sweeney Todd | Orpheus in the Underworld

1982: Robert & Elizabeth | No No Nanette

1981: How to Succeed in Business Without Really Trying | Hello Dolly

1980: Oklahoma! | La Belle Helene

1979: Guys and Dolls | Gypsy

1978: Half A Sixpence | Oliver!

1977: Fiddler on the Roof | My Fair Lady

1976: Annie Get Your Gun | Whitehorse Inn

1975: The Merry Widow | Can! Can!

1974: La Vie Parisienne | Kiss Me Kate

1973: Naughty Marietta | Kismet

1972: The Desert Song | Song of Norway

1971: Carousel | Die Fledermaus | Only an Orphan Girl

1970: Orpheus in the Underworld | The Music Man

1969: Iolanthe | Brigadoon

1968: Oklahoma!

1967: The Gondoliers | The Vagabond King

1966: Trial By Jury | The Sorcerer

1965: Yeoman of the Guard | The Mikado

1964: The Pirates of Penzance

1963: H.M.S Pinafore (presented by Cheltenham Pioneers’ Memorial Presbyterian Dramatic Society)

CLOC MUSICAL THEATRE
MUSIC THEATRE GUILD OF VICTORIA
AWARDS FOR EXCELLENCE

The quest for musical excellence has seen CLOC productions consistently recognised by the Music Theatre Guild of Victoria. With over sixty member companies, the Guild awards are an annual celebration of achievement in non professional theatre. Four of the company’s management team have been honoured by the non-professional musical theatre industry with its prestigious Edith Harrhy Award for Outstanding Contribution to Musical Theatre. The following awards have been won by CLOC.

2016 ‘Jesus Christ Superstar’

Production of the Year
Best Lead Male – Scott MacKenzie
Best Lead Female – Katie Weston
Best Supporting Male – Henry Shaw
Best Ensemble
Best Lighting – Brad Alcock (BAAC Light)
Best Sound – Marcello Lo Ricco (LSS)
Best Design – David Wisken for Make-Up Design
Technical Achievement

2015 ‘Mary Poppins’

Best Costumes – Victoria Horne
Best Cameo – Beryle Frees

2014 ’42nd Street’

Best Musical Director – Bev Woodford
Best Choreographer – Susan Lewis
Dancers Award – Dance Ensemble 42nd Street

2013 ‘Phantom of the Opera’

Technical Achievement
Design Award – Brenton Staples (The Lake Scene)

2012 ‘Sunset Boulevard’

Best Musical Director – Andrew McCalman
Design Award – Brenton Staples (Mansion)

2012 ‘All Shook Up ’

Production of the Year
Best Musical Director – Danny Forward
Best Setting – John Shelbourn
Best Lead Male – Jonathon Guthrie-Jones

2011 ‘Aspects of Love’

Best Setting – Brenton Staples
Technical Achievement

2008 ‘The Boy From Oz’

Best Supporting Actress – Bree Cahill
Judges Award – Heath Harney

2008 ‘Hot Shoe Shuffle’

Best Choreographer – Susan Lewis
Dancers Award – James Rooney

2007 ‘Blood Brothers’

Best Supporting Actress – Pam Christie Birkett

2006 ‘The Scarlet Pimpernel’

Production of the Year
Best Director – Chris Bradtke
Best Musical Director – Michael Loughlin
Best Lead Male – Shaun Kingma
Best Lighting – Stelios Kariagannis
Best Setting – Brenton Staples
Best Costumes – John Azzopardi
Edith Harrhy Award for Outstanding Contribution to Musical Theatre – Allan Paul

2005 ‘Jekyll & Hyde’

Best Lead Male – Lee Threadgold
Best Musical Director – Ben Hudson
Best Lighting – Stelios Kariagannis
Best Supporting Actress – Sally Morrison

2005 ‘Steel Pier ’

Best Choreographer – Susan Lewis
Dancers Award – The Ensemble

2003 ‘Gigi’

Best Setting – Brenton Staples & Les Cook
Best Costumes – Nancy Pizzi
Technical Achievement
Best Supporting Actress – Patricia McCracken

2003 ‘Pippin’

Production of the Year
Best Director – Tamara Finch
Best Choreographer – Tamara Finch
Best Lighting – Martin Karklins
Technical Achievement
Dancers Award – Luke Taylor

2002 ‘Hot Mikado’

Best Supporting Actor – Lee Threadgold

2002 ‘My One And Only’

Best Setting – Barry Pearce
Technical Achievement
Special Award – Adeline Han, Gregory Smith

2001 ‘West Side Story’

Judge’s Award – Lisa Trigili

2001 ‘Chicago’

Best Choreographer – Tamara Finch
Lighting – George Kulikovskis
Technical Achievement
Special Award – Andrew Wild

2000 ‘A Little Night Music’

Musical Direction – Philip Carmody
Best Supporting Actress – Pam Christie-Birkett

1999 ‘Company’

Musical Direction – Sue Porter/Andrew Leach
Best Actor – Andrew Dark
Best Supporting Actress – Pam Christie-Birkett
Judge’s Award – Shannon Woollard

1998 ‘Singin’ in the Rain’

Best Supporting Actress – Elizabeth Dark
Judge’s Award – Simon Redhead

1998 ‘A Chorus Line’

Best Choreographer – Lynette White
Best Actress – Elizabeth Garnsworthy
Dancer’s Award – Elizabeth Garnsworthy
Judge’s Award – James Rooney

1997 ‘Song & Dance’

Best Choreography – Christine Barratt
Dancer’s Award – Rebecca Jeffs
Best Lighting – George Kulikovskis

1997 ‘Chess’

Production of the Year
Best Director – Rob Robson
Best Musical Director – Andrew Leach
Technical Achievement
Best Actor – Paul Scott-Williams

1996 ‘42nd Street’

Best Choreography – Susan Lewis
Best Lighting – George Kulikovskis

1996 ‘City of Angels’

Best Setting – John Burrett
Technical Achievement
Edith Harrhy Award for Outstanding Contribution to Musical Theatre – John Burrett

1994 ‘Into the Woods’

Production of the Year
Best Setting – Chris White
Best Lighting – Graham McGuffie
Technical Achievement
Best Actor – Paul Keelan
Best Supporting Actor – Trevor Alexander

1993 ‘Funny Girl’

Best Actress – Emma Powell

1993 ‘Les Miserables’

Production of the Year
Best Director – Chris Bradtke
Best Setting – John Burrett
Best Lighting – Graham McGuffie
Technical Achievement
Best Actor – Gary Baade, Mark Dickinson
Best Supporting Actor – Marcus Millers
Best Supporting Actress – Emma Powell
Junior Award – Elizabeth Bradtke, Oliver Knuckey

1992 ‘Sunday in the Park with George’

Best Setting – Chris White
Best Lighting – Graham McGuffie
Edith Harrhy Award for Outstanding Contribution to Musical Theatre – Sandra Davies

1990 ‘Carousel’

Best Supporting Actress – Joanne Dodds

1990 ‘Mame’

Best Musical Director – Tim Smith
Best Actress – Christine Andrew
Technical Achievement
Edith Harrhy Award for Outstanding Contribution to Musical Theatre – Grant Alley

1988 ‘1776’

Production of the Year
Best Director – Alan Burrows
Best Setting – Laurie Lane
Best Actor – Peter Blizzard-Allen
Best Supporting Actor – Rob Constable
Special Awards – Steven Ritchie, Rex Keane

1985 ‘South Pacific’

Best Setting – Kel Pearson

1983 ‘Sweeney Todd’

Best Actor – Donald Cant

1982 ‘Robert and Elizabeth’

Best Setting – Pat Morton
Best Costume Design – David Richards
Best Actor – Rex Callahan

1982 ‘No No Nanette’

Production of the Year
Best Director/Choreographer – Graeme Coombs

1981 ‘How to Succeed in Business Without Really Trying’

Best Actor – Chris Bradtke

1980 ‘La Belle Helene’

Production of the Year
Best Director – Grahame Murphy

Life Members

2017: Barry Venning
2016: Carol Humphrey
2015: Tony Hall
2014: Bernard Hedger
2014: Gemma Hedger
2014: David Hobbs
2010: Alan Burrows
2010: Ken Taylor
2004: Robert Griffin
2004: Allan Paul
2004: Ian Simmonds
1999: Liz Smallridge
1997: Janet Cameron
1996: John Davies
1996: Jan Sheppard
1995: Gwynn Upfill
1995: Meryl Withers
1994: Maureen Allan
1993: Sandra Davies
1987: Betty Pink
1985: Horrie Leek
1982: John Hales
1980: Rod McKenzie
1978: Grant Alley OAM
1978: Dorothy Tyson
1977: Russ Etty
1974: Janette Proposch
1974: Vic Proposch
1972: Ron White
1970: Barry Reaper
0000: George Hadwen

Elected Presidents

2015 –             Cameron Osborne
1991 – 2014  Grant Alley OAM
1989 – 1990  John Davies
1987 – 1988  Sandra Davies
1985 – 1986  Gwynn Upfill
1983 – 1984  John Hales
1982                Ken Taylor
1979 – 1981   John Hales
1976 – 1978   Mick Clutton
1975                Warren Harding
1973 – 1974   Rod McKenzie
1972                Barry Reaper
1968 – 1971   John Hales
1968                Barry Reaper
1965 – 1967   Vic Proposch
1964                Clarrie Mahlook