July 2017

Well it is Winter in Melbourne which is surely reason enough to get indoors in the theatre?

I have recently directed my first Opera for Lyric Opera of Melbourne. It was Monterverdi’s ‘The Coronation of Poppea’ and it was a huge success. I wasn’t sure I was neccessarily going to like it but it was a joy. And the Audiences and critics loved it!

Next up…The Actor’s Benevolent Fund Concert in September then “Hello Again” in Sydney! Can’t wait!


“The Coronation of Poppea…surges to life in Lyric Opera of Melbourne’s outstanding new production. Director Tyran Parke’s fine credentials are put to the test in an opera directorial debut that delivers an edgy, intelligent and dramatically well-paced entertaining treasure…superbly depicted character interactions accompanied by quality singing…Planted firmly on the poetry of the text, Parke’s inventiveness is replicated by design that brims with sophistication…Parke’s part-prankish approach is an enlivening accompaniment to the percolating drama, one he gives truthfulness to that celebrates the opera’s near 400-year existence and a highly recommended one to head off to.” Herald Sun

“Clever creative artistry and bountiful talent make for a compelling production of The Coronation of Poppea in this mighty achievement from Lyric Opera of Melbourne…In a neat theatrical coup, the company has engaged a director for this production whose passion, intelligence and insight are a worthy match for maestro Miller. The result is a presentation of at least double the quality…Well experienced in the world of musical theatre, particularly in boutique productions of similar scale to this one, acclaimed director Tyran Parke works his magic on The Coronation of Poppea to fascinating effect. While the structure of baroque operas can often lead to a stand and sing structure, Parke plays with the flow of arias, having characters hover in the background before their next aria or dwell on stage reflecting on their thoughts after singing…Parke’s concept is set in an abstract time and place where modern and classical elements coexist. The prologue is confronting for traditional operagoers, with tragic drag queens Virtue and Fortune staggering home to the strains of nightclub music. While this opening deliberately grabs attention, Parke grounds the ensuing action in human truth, leading to a final set of scenes that are as dramatically satisfying as they are moving…The quality of this season of The Coronation of Poppea stands mightily on its own merits… Simon Parris
“This all-star cast is in good hands with experienced director Tyran Parke — whose track record includes on over 80 professional productions since graduating from WAAPA — who manages to bring together an array of people with various theatrical backgrounds. The Coronation of Poppea is an opera that truly has stood the test of time and has never been done the way Lyric Opera has presented it.” Milk Bar



“Lyric Opera have provided me with many delightful evenings at the theatre, but never with as much vocal talent as was on display in this performance…The simple set comprised a bed with doors, which could be folded back. This was very effective. The modern costumes worked well and have the gods, Fortune and Virtue, in drag was a novel approach. This performance was one of the highlights of the opera season.”

Graham Ford Stage Whisper

“Finding inspiration in the Fellini films of the 60s, director Tyran Parke has worked with his design team to blend costumes from that era with a surreal staging that transcends a particular time and place. A gigantic closet, with folding doors that are opened and closed for various scene changes, dominates the simple set. In the background, the sumptuous folds of a vibrant red curtain suggest both passion and a theatrical world…a major contributor to the success of this production and makes it one that should not be missed.” CLASSIC Melbourne



“guaranteed to get opera lovers salivating. Add to that the prospect of some of early opera’s most expressive music, including a swoon-worthy final duet and the proposition seems irresistible…The current production of The Coronation of Poppea by Lyric Opera of Melbourne is alive to the theatrical and musical possibilities of Monteverdi’s last opera..Director Tyran Parke clearly establishes the impotence of these deities from the outset, as the flawed mortals of the story are often appealing to them for heavenly patronage…Parke and the singers worked well together to keep the long flow of material involving, especially in the second half…Lyric Opera’s production tells the story in a colourful and attractive way”


“the work itself is hard-edged, in soap-opera terms, more pumice stone than Palmolive. Accordingly, it duly received a swift andsinewy performance…Tyran Parke’s focussed but occasionally silly production, with thrust-stage set dominated by a large wardrobe and (for Act II) a long dining table, worked well in the intimacy of Chapel offChapel…this Poppea was cumulatively a noble experience. Three hours (one interval) can be a long time in opera, but the

evening sped by as if on Mercury’s wings.”

THE AGE Review by Michael Shmith:


“Enthralled by the performance…vivid all the way in looks and drama…part prankish approach and percolating drama intensify…director Tyran Parkes edgy, intelligent poppea opens in deliciously impressive style” opera chaser 


June 2017

Ok, So it’s only getting worse…Tax and websites- the two things I struggle to keep up with!

But, well, it’s been busy- very Busy!

I guess the biggest things to occur in 2017 thus far are the productions and I’m lucky enough to direct several really beautiful pieces of writing…

I have just finished the lovely chamber musical, Adam Gwon’s, “Ordinary Days”. The show was produced at Chapel off Chapel for a very limited but successful season. Again, the show was greeted with wonderful praise and standing ovations.

I’m now hard at work on my operatic debut, directing “The Coronation of Poppea” for Lyric Opera of Melbourne.  It’s wonderful and slippery and frustrating and exhilarating. It opens in a month and plays for only 5 shows (I don’t know how they do it in opera – so quick!)


“For a modern, character-driven musical, there is no better director in Australia than Tyran Parke, a proven master at illuminating the minutiae of human connections. Parke’s subtle, yet highly detailed direction brings the characters vividly to life…Lovers of modern musical theatre are sure to cherish this welcome production of Ordinary Days.” Simon Parrish

“Gwon’s music is beautiful. This joyous show will stick with you…These voices are wonderful, full and moving. The four-piece band sounds much larger but executes this exquisite music wonderfully…Ordinary Days is about people finding themselves and their partners. It’ll break your heart apart, piece it back together and warm it thoroughly… I hope this one gets the hype it deserves. I left with a sore face from smiling and slightly smudged makeup from tears.” Theatre people

“Ordinary Days is a slick contemporary chamber musical with heart… It is a relatable, believable and thoroughly enjoyable show about growing up and enjoying the view…Director Tyran Parke has done an outstanding job bringing such dramatic and creative gems out of these four talented people…there were some truly magical goosebump moments throughout…the music and characters pull us in and help us to see and appreciate the little things, which is so important, especially now.  Escape the cold and get swept up in finding the extraordinary in the ordinary.” Theatre Press

“Warm, witty and engaging…Directed by Tyran Parke, Ordinary Days is often funny and at times moving (There’s one scene in which I had tears running down my face)” The Blurb

“This production of Ordinary Days is sublime and verifies the show’s central idea that the ordinary can be beautiful… The stars must have aligned when Parke was casting the show, with all four actors delivering performances that were independently convincing and endearing, but collectively perfectly balanced and engaging… may well be one of the best things to appear on stage this year… Staging and direction is tight and effective, moments are bittersweet without being overplayed…sensitive and clever delivery of the actors and production team…The show runs for around one hour, but the production is so engrossing it feels like twenty minutes. Do yourself a favour and don’t miss this one.” BROADWAY WORLD

April 2017

2017 is just showing off really. I feel so lucky to have such great material and such great teams to work with. The highlight thus far is the wonderful musical, “Big Fish”. It is such a great show! I was pleased that it found an audience (at the Hayes Theatre in Sydney) that saw the same level of value in it that I always have. I felt very move by the response both critically and from audiences nightly.

The reviews were truly lovely. I hope to revisit the story again someday. But for now…it’s on to “Ordinary Days” at Chapel off Chapel in May…

“Director Tyran Parke has shined up the musical beautifully in an imaginative and wonderfully performed production… It’s the sense that this superb cast has pulled together to generously tell this story that lends this production its greatest magic. And, it has magic in spades.” Daily Review

“High energy show reels you in…Here, the audience is invited to do a little more of the imaginative lifting in a vivid production directed by Tyran Parke… Using the space well, Parke and choreographer Cameron Mitchell create memorable sequences” Sydney Morning Herald

“Parke has crafted a production that is immensely entertaining, genuinely moving and recreates the whimsical world that (writer) Daniel Wallace envisioned with such wonderful clarity… Parke and his team have worked hard to ensure that the professional premiere of Big Fish in Australia is memorable for all the right reasons.” Theatre People

“Not too often can you honestly say that a smaller independent production of a musical is undeniably better than a full-scale Broadway production, but Big Fish at the Hayes Theatre has surely got to be one of those times… Big Fish is a whimsical delight, all kinds of magic, and an absolute must-see.” The AU Review

“Tyran Parke delivers an intimate but none the less impressive, inventive interpretation… filled with passion and heart, presented with a purity and understanding of the emotions each character experiences. Do not miss this show, it is a definite must see.” Broadway World

“the separate round of applause not solicited but proffered for Parke at the end of the play, was well deserved… Big Fish is another exceptional production from Hayes that will no doubt excite both fans of the original and the uninitiated.” Arts Hub Australia

“Mr Parke, has created a beautiful production… One could not want a more wonderfully executed production, it is first class.” Theatre Diary Kevin Jackson

“this production hits all the right notes in the tiny Hayes space, with a wonderful cast and imaginative staging from director Tyran Parke…. this show will be seen by a wider audience.” Stagewhispers

“…radiates a great deal of love from everyone involved … it’s impossible not to be moved… Tyran Parke directs with a light, loving touch and handles the transitions between past and present beautifully, keeping the production flowing seamlessly… a delightful production here that will warm the cockles of your heart” Jo Litson Limelight

“Parke has drawn pitch-perfect performances from his entire cast… Parke’s clever use of shadows, simple, well-executed illusions, imaginative costuming and inventive choreography combined to transport his production into a seductive world of whimsy and fantasy transcending the confines of the tiny Hayes Theatre,.” Australian Arts Review

“One of the most emotional and enchanting theatre experiences I have had in some time. Be surprised and see Big Fish.” Dance Life

“Once upon a time there was a small intimate theatre that decided to put on a musical called BIG FISH and the show became a smash hit and just grew and grew…This captivating musical has a heart bigger than the Nullarbor Plains… Under Tyran Parke’s refined, accomplished direction, and thrillingly staged, the brilliant cast bring this story to magnificent life…With warmth, humour, whimsy and a magnificent cast, this show is phenomenal, theatrical magic and a must see. The full house standing ovation was more than richly deserved. Quick! Go treat yourself now”. Sydney Arts Guide

“managed to inspire standing ovations times three… The production is a delightful and charming telling of this tale, it is an incredibly pure little musical with a big heart. Sometimes when creative teams are limited by small stages and small budgets their imagination bubbles over and a fascinating creativity takes the stage… a performance that does not falter. Every character stands on their own as well developed; rehearsal time was well spent…the energy on stage was full to overflowing… Big Fish is a fanciful and carefully crafted piece of musical theatre, it brings the polish of the Broadway stage back home to Australia with a warmth and roughened edge that endears it to the audience even more. For lovers of musicals and classic narrative this is a great night out for you, that promises to keep you dancing, smiling and holding hands all the way home”. Talking Arts

“This rendition may be streamlined, but director Tyran Parke brings a richness to the staging, with simple but exciting visuals that live up, surprisingly, to the story’s imaginative landscapes. The cast is buoyant and bubbly, determined to entertain”. Suzie Goes See

“Spread the word: Sydney is currently home to a rare gem of a show… The Big Fish company have a lot to be proud of, and with recurrent standing ovations, it’s a show that simply can’t be missed by theatre-lovers… director Tyran Parke has tackled the challenge with alacrity. Most notably, Parke turns Big Fish into an ensemble piece, where all performers support one another as onlookers or as witnesses to the action, and adopt multiple identities. It’s a delight… Despite the physical restrictions, the production brings a lot to the table, and what it brings is innovative and original… this production makes a point of telling its story through deft subtlety… This production of Big Fish is glowing in love. The commitment and the pride of all involved is so clear that you’re sure to be on the journey with them for those two and a half hours…Under Parke’s expert watch, the company have created a piece of theatre which is dripping in energy and swimming in quality”. PROP Sydney Essential Theatre

“…Hayes Theatre take a Broadway flop and turn it into a six-tissues + standing ovation popular hit. The man largely responsible for this phenomenon is director Tyran Parke. His fervent wish and tireless efforts to stage Big Fish mirror the dreams and innate sweetness of the main character and the result is unexpected and enchanting…a production that’s quirky, funny and touching by turn… the company is as vocally accomplished as one might expect from a show created and directed by Tyran Parke. He’s made much more of the piece than is really there and brought out all possible heart and soul through the very fine performers… Big Fish is as cute and sharp as rock candy, yet it has a bitter-sweet centre highlighted by Parke’s telling of the tale, that lifts it to a place where heart strings are plucked and tears and laughter happen. Recommended.” Stage Noise

“Musicals that pull on your heart-strings are not an easy find, but Big Fish proves that imaginative but humble stagings can ignite the magic of storytelling equally, if not better than the often rife efforts of a full-blown spectacle…director Tyran Parke’s spellbinding vision brings the audience into the action of Edward’s charismatic storytelling…magnetic intensity shatters all hopes of leaving this enchanting production with tears unshed.’ Aussietheatre.com

February 2017

Ok, I’ve found a moment to write a bout the past – well four months! Oh God, that’s so embarrassing. I get up and go to rehearsals each day, one would think I could find ten minutes a month to update this website!

Anyway, let me think back…Well if we are going back to last October (last post was September) that means it’s been quite eventful…I finished working at VCA (Victorian College of the Arts) in Melbourne where I taught Shakespeare and acting through song while directing workshop productions of Seven Brides for FIVE Brothers (always the way at Drama school!) and Pal Joey and a concert.

I immediately raced to New York and saw a billion shows and even appeared in one – a wonderful concert at Joe’s Pub featuring artists such as Sienna Miller, Alan Cumming and several Broadway stars, all singing the music of Lance Horne. It was awesome but drunken Kareoke with Alan and Sienna was even better!

I spent December casting Big Fish and doing various Carols.

January was spent teaching at the New Zealand Singing School then I came to Melbourne to start my position as Course Co-ordinator of the Music Theatre Department at the Australian institute of Music.

But not before directing the Sydney Theatre Critics Awards which was a blast!

I also appeared in a workshop of a new musical at the Hayes Theatre produced by New Musicals Australia. directed by Damien Ryan.

I’ll soon go to Sydney to start work with a marvellous company working on Big Fish!

Till next month (I hope!)

September 2016

September 2016


There is a long version of the following story about what lead me to be currently housed in Melbourne but I’m not sure people look at my website for such stories so…let’s just say that I was living a very contented, busy life in coastal Sydney for the past 16 years and then I saw a marsupial who has since been christened ‘the Clovelly Fox’. I had a significant moment with said fox and subsequently followed it to Melbourne. (hmm, I fear it loses something in it’s abbreviated form.)


Anyway after ten years working at NIDA (National Institute of Dramatic Arts) and AIM (Australian Institute of Music) I’ve decided to disrupt my life a bit and follow that fox to new creative destinations and spend some time in Melbourne. I am happily working for VCA (Victorian College of the Arts) teaching and directing and working on several outside projects.


Last month ‘Into the Woods’ opened a treat in Sydney to a wonderful reception (see images below by Kurt Sneddon). I am now in pre-production for a commercial play and a musical both to open in the early parts of next year.


I’ve spent the past week narrating “Peter and the Wolf” with the Metropolitan Orchestra – including a very special performance for refugee children in outer Sydney. I then spent some wonderful time on the set of ABC’s hit TV series Dr Blake.


Next week I am going to the photo shoot for the aforementioned play with our two leads – can’t wait for the world to hear of our wonderful production!


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July 2016

Well, as ever this website has proved harder to maintain than a career in the arts! But though sporadic, I’m always successful in finding a moment to update this eventually – the good news being that the primary distraction is working in the theatre…long may it remain the chief source of my attention, way above updating my silly website!


The past month has seen me directing the concert, “Tapestry” at the Victorian Arts Centre, celebrating the music of Carole King, featuring Debra Byrne and Vika Bull. The entire season was sold out and each night received standing ovations. It was a joyous experience that is sure to now tour the country for some time.


In addition ‘Into the Woods’ opens at the end of August at the Australian Institute of Music, which I’m loving.


And then I will be Melbourne-bound to take up a position at the Victorian College of the Arts while I continue to develop “Carmen – Live or Dead” with Natalie Gamsu (which had a successful workshop in July 2016), as well as several productions.


That’s about it for this period- there are several projects that will be announced in the not too distant future so, watch this space – eventually I’ll return!


Thanks, TP

May 2016

Well, I’m getting a BIT better! My last entry was in March and it’s now the last day of May. Given my track record, I’m pretty happy with this!

It’s been as crazy as ever. I’m just catching my breath after a pretty amazing few months.

A lot of my friends know the story of me coming face to face with a Fox in suburban Sydney on New Years Eve this year and how I invariably made that mean it was indeed, the year of the Fox. I didn’t really know what that meant at the time but if the past six months are indicative, I hope I see that damn animal every year!

After Great Expectations in January, I then sunk my teeth into a new Australian musical, Crossroads by Anthony Costanzo and Peter Fitzpatrick. It was a joy to work on with a very special cast. It received glowing reviews and played a very successful season at Chapel off Chapel in Melbourne.

Straight after I went to China to work for the Really Useful Company/NIDA for a month.

AND, I’ve just completed Follies in Concert in Melbourne but that is so special, it surely requires its own posting…I’m currently in Sondheim heaven as I rehearse up Into the Woods at AIM- in fact I gotta go finalise the design.

I hope you all get to see that fox!

A brave and trailblazing production…the execution of this musical takes a so-so narrative and transforms it into something utterly compelling, packed with charm, humour and so much heart, my own was fit to burst by final curtain. The Cast are sensational…Director Tyran Parke has focused on intimacy over spectacle, side-stepping the limited resources at his disposal by allowing the cast’s vocal and acting abilities to carry this show. Crossroads has shown itself to be the new Australian musical that deserves to go on to become an old Australian classic. Limelight


It’s evident that the team have poured a great deal of care and love into this production and the dedication is apparent on stage… Every number in Costanzo’s score is tuneful and easy on the ear ….  this work is effectual and visually pleasing… this confident “world premiere” could even be the first of many stagings, both here and dare I say it, overseas. Theatrepeople


This story of finding love and losing it is uniquely theirs, but it’s also one that belongs to all of us… Crossxroads is a brilliant piece of Australian musical theatre… The sets for this production were very minimal however used exceptionally well… Combined with the sets, the lighting of this production felt effortless and enhanced the effects of the large banners through the projection of light or images… Crossxroads is a fantastic example of home grown professionalism in theatre, the vocals were excellent second to the quality of acting and proficiency in conveying emotion…there was no lack of engagement — This production will take you through the full gamut of emotions, and back again! Theatreview


Alinta Chidzey is a true triple threat with a great voice, great looks and an endearing quality on stage.Tyran Parke nails beautifully in his direction… Bronte Florian succeeds in several cameos, and the fabulous Edward Grey was excellent. Stagewhispers


… the innovation and vision of a director who treats the work like a prized gem. The flow-on benefits mean that CROSSxROADS has attracted an incredibly talented cast and a highly capable production team…Director Tyran Parke has taken a relatively simple story and created a living piece of theatre…Parke wins us over with the intensity of the central romance as well as the amusing exploits of the comical second lead couple. Each of the eight highly talented cast members devotes their full energy and commitment to giving their very best performance… Anthony Costanzo’s score is a highlight of the new work… Michael Ralph’s unobtrusive choreography is performed with the same high level of skill that the cast brings to all their work. Kim Bishop’s costumes make great use of colour themes and help to advance the characters’ ages as ten years pass by… Simon Parris

There is much to like in Crossroads, a romantic comedy that is one of those rare beasts- a new Australian musical…exceptionally talented cast…Fitzpatrick’s cunning book…Parke’s direction keeps the staging simple and the action moving swiftly while the five-piece band is tight and tuneful under the musical direction of David Wisken…the quality of this production, with its fine cast, suggests that Crossroads could be the new Australian musical to watch. The Herald Sun

A superb musical score and the rich, strong and pure voice of Alinta Chidzey make the world premiere of this new Australian musical one not to be missed… The music and the lyrics are undoubtedly a highlight of CROSSxROADS, which is not without its lighter, merrier and more comedic interludes. The story moves along at pace and the well-worn saying “there is never a dull moment” comes to mind when reflecting upon the melodrama of this couple’s lives. In short,CROSSxROADS is an engaging triumph and a crowd pleaser. The Blurb

March 2016

Dear All,

Ok, now the thing that we have always known is official – I’m hopeless at maintaining a website! I’m sure they teach you somewhere that you shouldn’t run a website if you can’t keep it up to date! And that’s kinda true but I’m pleased that the balance is that I have so much theatre work that I give my heart and soul to, that a website seems secondary. If it shifts and I have a beautiful, update website, I may need to worry for my career!

So, what’s been happening?!? Shows!

So far this year I have directed ‘Great Expectations’ at NIDA which I loved. It was the RSC adaptation and was truly epic with 30 people aged from 9-60 who never left the stage for three hours! FUN!

Shortly after that I took part in a workshop of the new musical ‘Between Worlds’ under the brilliant direction of Jason Langley.

I’ve also continued to work with the writers of ‘Stalker the musical’ after our successful workshop presentation at the Hayes theatre last year.

Next up I’m bringing ANOTHER new Aussie musical to the stage when I direct ‘Crossroads’ by Anthony Costanzo and Peter Fitzpatrick at Chapel Off Chapel in Melbourne in April.

Then I’m off to work for the Really Useful Company in China before returning to Melbourne to stage Sondheim’s ‘Follies’ in May. The show has a stellar cast including Lisa McCune, David Hobson, Philip Quast, Anne Wood, Nancye Hayes, Debra Byrne, Cheryl Barker and more…

And now I have to go sleep as I’m directing for both NIDA and AIM tomorrow and if I don’t publish this right now, it might be another six months till my next update – hope to see you in a theatre soon!



July 2015

Tyran has left the task of updating his website to his personal assistant, me. Which is perfectly fine, as I don’t think that man has 25 minutes to spare between going from rehearsals, to shows, to the gym and buying chocolate.

The past few months have kept Tyran extremely busy and hard at work- nothing has changed there. He assures me that he is still quite good at singing and pretty good at acting but more importantly has remained dreadful at keeping Websites up to date, which is where I have come back into the scene.

The ‘whiteboard of madness’ is still full of projects, though some have been rubbed off to make room for new and exciting work. He has had a wonderful few months with shows such as A) Rob Mills is Surprisingly Good! B) Tyran’s own cabaret which was presented at The Hayes Theatre Cabaret Season in June and C) a musical by the Gay and LesbianChoir called Cheek to Cheek! Those are just a few highlights from the past month, but just wait until you see what Ty will be up to for the rest of the year.

11391484_898481056884852_8157598051418311531_nTo begin, lets flash back to more information on the Rob Mills show. Which also played in The Hayes Theatre Cabaret Season along side Tyran’s Cabaret, Children and Art-but back to Rob. Millsy and Tyran have a wonderful friendship and seem to have hit the nail on the head with this wonderful, hilarious cabaret show.

As Broadway World wrote in a review, ROB MILLS IS “SURPRISINGLY GOOD” is a wonderful cabaret worth seeing for everyone, not just those that are familiar with his previous work. Mills utilizes all the necessary aspects of the genre to share his personal story with energy and passion and prove that he is much more than people generally think he is. Broadway World

The show flowed impeccably, thanks to the writing and the clear vision by director Tyran Parke. Each moment of dialogue was there for a clear purpose, and each song seamlesssly connected the different stories to each other. There was never a moment of stilted orforced dialogue to bridge a transition. Aussie Theatre.

The show has been on tour for the past month travelling around Australia and performed to sell-out shows in every city. Rob and Tyran accomplished a wonderful piece of theatre with this show.

But, now 11062353_898687206864237_2646423326586290076_nlets talk about Tyran’s cabaret, Children and Art, which played for 2 nights at TheHayes Theatre in June. This is not the first time Tyran has brought this show to life. He performed the show in May 201
4 at the New South Wales Art Gallery Cabaret, which presented some of Australia’s best cabaret performers. Though this time around the setting was a little different. No painting surrounding him, or tables of keen listeners, this time, two sell out shows in the wonderful Hayes Theatre.

“Damn Tyran Parke. His cabaret CHILDREN AND ART has disrupted my precious sleeping. Not just because it’s a brilliantly written show interpreted by a charismatic and talented star but because it lingers in the twilight, full appreciation of the complexity just slightly out of reach. – Funny and silly with pathos to spare, sibling love shines through Parke’s writing and storytelling. And he is a wonderful storyteller.  – There is so much to appreciate about this show…Tyran Parke’s writing, directing, singing and storytelling lingers, encouraging the kind of reflection that disturbed my sleep. Damn that boy’s good!” Sydney Arts Guide

 Back tracking a little to June, when Tyran directed a performance titled Cheek to Cheek, by the Sydney Gay & Lesbian Choir at the Roundhouse Theatre. The show was packed with music classics from across the decades, from Irving Berlin to Donna Summer. In Ty’s words, the show was silly, fun, entertaining…and gay. As it should be! A wonderful time spent with all.
Now to one of my personal favourites, a show Tyran is working on for The Balnaves Foundation Opera House Program, helping the community connect with the arts. He will be playing a Tuba, and his name is Tubby! Brilliant! I am already giggling! This lively Babies Proms production introduces children to the different instrument families. The unique nine-piece proms orchestra (containing a bassoon, flute, piccolo, tuba, two violins, viola, cello, trombone and xylophone) brings the 1941 children’s classic by Paul Tripp to life. This show will be on from the 5th- 15th August and is suitable for 2-5 year olds. But, who am I kidding, ill be there!

Last night, the cast of Company, produced by Watch This was announced and Ty is thrilled to be playing Bobby! The show by Stephen Sondheim and George Furth opens Wednesday 16h-27th September at fortyfivedonstairs in Melbourne. “Company examines the affairs of the heart: can a sophisticated person in the anxious atmosphere of a major metropolis function happily in a marriage, sustain an emotional connection or even recognize love? More information about this role and the show will appear here in coming months”. Very exciting.

Stalker: The Musical h11742763_919810408085250_9124837786093261032_nad a work
hop performance at the Hayes Theatre a few weeks ago. Tyran was the director for this performance and helped the writers and creators take it to a place where it could be performed, as a workshop, before it takes a trip to the Fringe Festival in New York in August. The workshop was great and came together quite well! This marks the end for Tyran’s work with Stalker: The Musical. He wishes everyone involved the very best with his or her journey to bigger and better things for Stalker: The Musical

As Tyran’s personal assistant I am so glad he and I were able to find some time to get together and chat about his work and this year. There are many more exciting things to come, and these are just small sneak peaks for you all! You will hear from me shortly!

Until then…signing off.

Jaime (Tyrans PA)


December 2014

So, ok, I’m a good director and actor and a very bad ‘website maintainer’! Guilty as charged!

The excuse is a good one-I’ve been too busy co-coordinating the various projects in my life to wax lyrical about how well they are going/have gone. But with so many weeks between, settle in for a fat edition of the world according to Ty!


So, I last wrote (Also somewhat belatedly!) in September. It’s now December. And What’s happened? Well, There was LoveBites.


Lovebites played at the Hayes Theatre in Sydney for four weeks. It was awesome to appear in this intimate space and with such a talented cast. I had directed the show for NIDA a few years ago but it was wonderful to flex my acting muscles and perform those awesome Australian songs in such fine company. The press thought so too…

While I was starring in Lovebites, I was simultaneously directing the Mark Ravenhill play, ‘Pool (no water)’ at NIDA. It’s a crazy, hard play but I really wanted the challenge of working on something outside my usual fare. Adapting a four person play for sixteen actors to rehearse over eight weeks was certainly a challenge but one I truly LOVED!

About two hours after finishing Lovebites I was on a plane to remount the remarkably successful production of Assassins, which I first directed in Melbourne in 2013. The show opened and immediately went on a mini tour of Victoria. I was again blessed with an incredible cast lead by Anne Wood (Mamma Mia), Nick Simpson Deeks (Jersey Boys) and Mark Dickinson (Pretty much Everything) and the show ended its successful tour under the bright lights of Geelong!

I returned to Sydney to direct a student production at The Actors College of Theatre and Television (ACTT) as well as producing and hosting the annual Opera and Arts Support Group Fundraiser (OASG). Not wanting to leave any acronyms aside, I also undertook the audition tour for the new Diploma of Musical Theatre at NIDA. I’m pretty excited to be heading up this new course in 2015. We have a brilliant staff and an exciting intake of students who will lead the way in music theatre from 2016.


And then there was…Our House!

Possibly requiring it’s own entry, Our House is the Olivier Award Winning musical based on the musical of Ska band, Madness. I was in charge of directing this wonderful, energetic piece for a presentation after five days. It was thrilling. I loved it! We had a ridiculously exciting cast who brought the piece to life beautifully. Watch this space for further news…