April 2018

So…here comes a LONG overdue post…


I’m quite hopeless at maintaining my news but a quick Google will show I’ve not been lazy! In fact I’ve been so busy something had to go. I chose food, exercise, travel, romance and of course, theatre…I’m sorry but Website maintenance didn’t rate a mention…


But here I am in April 2018 feeling that I really be more present and remind those I’ve been doing stuff since last July! (Eek!)


What, I’m not sure if I can remember but there have been shows, lots of shows!


The last post was about Lyric Opera’s Coronation of “Poppea”, which I directed and won the ‘Opera Chaser award’ for best director mid 2017.


Since then I had the most awesome time directing the graduating actor’s from NIDA in their only musical, “Hello Again”. It’s a remarkable piece, based on the play, ‘La Ronde’. Each scene is set in a different era of the twentieth century and as such it is very demanding, particularly on design elements.


Luckily I had the most brilliant designer who created a multilevel set with a central revolve and actors to die for. It was one of my favourite directing experiences ever and lead me to a lovely friendship with the brilliant composer/lyricist/book writer, Michael John LaChiusa. I can’t wait to work on another of his pieces.


The Fundraising concert for the Actor’s Benevolent Fund was joyous with a line up including; Missy Higgins, Nat Gamsu, Nancye Hayes, Geraldine Turner, Katrina Retallick, Daniel Belle, Elle Colla, Genevieve Lemon, Madeleine Jones, Gary Scale, Martin Crewes, Justin Smith, Stephen Mahey etc. and all hosted by the legendary, Simon Burke.


After that I finished the final performances at the Australian Institute of music before taking my leave and heading over to New York and London to immerse myself once again in theatre…


On my return, I directed “Falsetto’s” at Chapel off Chapel, which was a huge critical success.


Shortly after I directed the tour of David Auburn’s play, “Proof” which recently wrapped up in Sydney and rates among my most rewarding of theatre experiences.


I have recently directed a showing of the new Melbourne play, “Magnolia Tree” for Showcase Victoria and cast “A Chorus Line” for third year VCA and “Sunday in the Park with George” for third year WAAPA.


Oh and last week I was honoured to win the Green Room award for best director of a musical for “Ordinary Days”. That was very nice.






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 


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…



I know, I know, I did it again…I missed a month!

I just don’t know where the time goes…oh yes I do actually- theatre!

August/September has been a very busy period. I’m currently starring in ‘LOVEBITES’ by James Millar and Peter Rutherford at the (fast becoming as legendary as its namesake) Hayes Theatre with three other wonderful actors.

Its been a blast and recieved fantastic reviews that have all been added to the reviews page.

I also had a great time performing at the Actors Benevolent Fund (raiser) at Opera Australia a few weeks ago where I was honoured to Sing “Don’t Cry Out Loud” from The Boy From Oz…

“Can we call Tyran Parke one of the lucky Australians please? The man has one of the most pleasing tenors you’re ever going to hear. His high notes are light and smooth, and while he knows how to go all jazz hands – he still has machismo. The gay men of the music theatre who would kill for this gift! Beautiful rendition of this 80’s Peter Allen hit.” Diva Knows Best

Though it has been fun to tread the boards again, the most exciting project of late was my production of Mark Ravenhill’s ‘Pool(no water)’ which I directed at NIDA. It was a challenging project, taking a plkay written for four dancers, adapting it for 16 actors and rehearsing it in 8 sessions! Happily, it was a true pleasure and a brilliant experience embraced by all.

And now, I am being reunited with an old friend. The production of ‘Assassins’ I directed last year will soon go out on a tour of Victoria with a spectacular cast.

I’m a lucky guy…hope to see you in a theatre soon, Ty