About Us
About CLOC
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.
CLOC 50th Anniversary Book
Implicit in the objectives of CLOC 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.
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 re-imagined and highly successful production of the classic Jesus Christ Superstar. In 2017 acclaimed director Chris Bradtke returned to CLOC to direct Les Misérables in May, just as he did in October 1993. Most recent CLOC productions of Priscilla Queen of the Desert (2021), Jersey Boys (2022), Chicago (2022), Catch Me If You Can (2023) and most recently CHESS (2023) have also received critical acclaim.
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 over 15,000 people each year, CLOC also hires sets and costumes and gives advice to other theatre companies, including those interstate. CLOC’s reputation is such that often a show’s sets and costumes can travel throughout Australasia as happened with The Phantom of the Opera, and is currently happening with Mary Poppins, Les Miserables, Strictly Ballroom, Kinky Boots, Mamma Mia, Priscilla Queen of the Desert and Jersey Boys.
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.
Management: Prudent & Stable
CLOC Musical Theatre Committee 2023
President | Ric Birkett
Administrator | Nic Russ
Secretary | Patsi Boddison
Treasurer | Grant Alley OAM
General Committee | Daniel Baker, Lucinda Barratt, Mitchell Groves, Carol Humphrey, Melinda Peebles, Sujanthan Satkunarajah
President | Ric Birkett
Administrator | Nic Russ
Secretary | Patsi Boddison
Treasurer | Grant Alley OAM
General Committee | Daniel Baker, Lucinda Barratt, Mitchell Groves, Carol Humphrey, Melinda Peebles, Sujanthan Satkunarajah
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:
All members of the CLOC Company Management are volunteers and offer their time freely for the advancement of CLOC in the community.
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.
Organisation: Highly Skilled
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.
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.
Community Service: Serving the Community
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 families and the disadvantaged with a 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 their careers by volunteering with CLOC before graduating to professional theatre.
Support for Schools
CLOC provides many services to schools such as hire of costumes, technical assistance and advice along with provision of expertise to assist staging school productions as well as skilled people to act as guest lecturers in all facets of theatre.
CLOC also provides discounted tickets for school groups and offers theatre tours with expert commentary covering all aspects of the productions.
In 2007, CLOC was recognised and named as City Of Kingston Community Group of the Year for Community Involvement.
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 families and the disadvantaged with a 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 their careers by volunteering with CLOC before graduating to professional theatre.
Support for Schools
CLOC provides many services to schools such as hire of costumes, technical assistance and advice along with provision of expertise to assist staging school productions as well as skilled people to act as guest lecturers in all facets of theatre.
CLOC also provides discounted tickets for school groups and offers theatre tours with expert commentary covering all aspects of the productions.
In 2007, CLOC was recognised and named as City Of Kingston Community Group of the Year for Community Involvement.
MARKETING: STRONG CUSTOMER FOCUS
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, email broadcasts, customer surveys, policy reviews and strategic planning.
CLOC advertises widely including online as well as hard copy distribution. 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 advertises widely including online as well as hard copy distribution. 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'S CUSTOMER BASE: EXTENSIVE COVERAGE AND SUPPORT
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 yet continues to show steady growth.
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 patrons.
CLOC’s productions consistently return the budgeted attendance, and more often than not, significantly exceed budgeted attendance expectations.
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 patrons.
CLOC’s productions consistently return the budgeted attendance, and more often than not, significantly exceed budgeted attendance expectations.
FINANCE: SOUND BASE WITH LONG TERM VIABILITY
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.
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.
RECOGNITION AND AWARDS
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. The Guild awards are an annual celebration of achievement in non-professional theatre. Six people involved with CLOC 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.
2023 'Chess'
Production of the Year
Direction - Shaun Kingma
Musical Direction - Tyson Legg
Choreography - Tamara Finch
Lighting - Brad Alcock
Sound - Marcello Lo Ricco & Nick O’Connor
Lead Performer in a Female Presenting Role - Rosa McCarty
Supporting Performer in a Male Presenting Role - Jake Turner-Clarkson
First Feature Performance - Jake Turner-Clarkson
Ensemble - Cast of Chess
2023 'Catch Me If You Can'
Dancer’s Award - Tyler-Rose Shattock
2022 ‘Chicago’
Sound - Marcello Lo Ricco
2022 ‘Jersey Boys’
Cameo or Minor Role - Will Huang
2021 ‘Priscilla Queen of the Desert’
Sets Design – Chris White
Costumes Design – Victoria Horne
Sound – Marcello Lo Ricco
Technical Achievement, The Bus – Chris White, Grant Alley, Justin Karakai, Peter Turley
Male Performer in a Leading Role – Lee Threadgold
Ensemble Award - The Ensemble of Priscilla
Creative Design, Wigs – David Wisken
2019 ‘Kinky Boots’
Choreography - Steven Rostron
Dancers Award - Aaron Taylor
2018 ‘Jekyll & Hyde’
Cameo Performance – Stephanie Powell
2018 ‘Strictly Ballroom’
Best Costumes – Victoria Horne
2017 'A Chorus Line'
Best Choreographer - David Harford
Best Settings - Richard Perdriau
Best Lighting - Jason Lord
Technical Achievement
Dancers Award - Dylan Henry
Edith Harrhy Award for Outstanding Contribution to Musical Theatre – Gemma & Bernard Hedger
2017 'Les Miserables'
Best Musical Director - Andy McCalman
Best Lead Male – Mark Doran
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
