THEATRE DIRECTOR

 

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PREVIOUS PRODUCTIONS

PROMISES, PROMISES

PROMISES, PROMISES

Book by NEIL SIMON
Based on the Screenplay THE APARTMENT
by BILLY WILDER and I.A.L. DIAMOND
Music by BURT BACHARACH Lyrics by HAL DAVID

Directed by DEAN DRIEBERG

Presented by NEGLECTED MUSICALS

HAYES THEATRE, SYDNEY - 13 - 17 NOVEMBER, 2024

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CAST

Chuck Baxter JARROD DRAPER

Fran Kublelik STEFANIE CACCAMO

J.D. Sheldrake SCOTT IRWIN

Dr. Dreyfuss WAYNE SCOTT KERMOND

Dobitch / Waiter / Intern P. TUCKER WORLEY

Kirkeby / Karl TOM SHARAH

Eichelberger / Eddie / Eugene TODD GODDARD

Jesse Vanderhoff / Watchman HAYDEN BAUM

Miss Olson / Vivien / Miss Wong GRACE DRISCOLL

Silvia / Hostess / Miss Polansky / Marge MacDougal SARAH MURR

Ginger / Nurse / Miss Della Hoya / Mrs Sheldrake KIRA LEIVA

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CREATIVE TEAM

Musical Director DAVID GARDOS

Choreographer LISA CALLINGHAM

Attire KATHLEEN KERSHAW

Producer MICHELLE GUTHRIE

Associate Producer / Stage Manager KYRSTELLE QUARTERMAIN

NATASHA, PIERRE &

THE GREAT COMET OF 1812

NATASHA, PIERRE &

THE GREAT COMET OF 1812

BY DAVE MALLOY

AUSTRALIAN PREMIERE

Directed by DEAN DRIEBERG

Presented by DARLINGHURST THEATRE COMPANY

ETERNITY PLAYHOUSE, DARLINGHURST - 8 JULY - 20 AUGUST, 2023

2024 TIMEOUT SYDNEY ARTS & CULTURE AWARDS NOMINATION

BEST MUSICAL

2023 SYDNEY THEATRE AWARDS NOMINATIONS

BEST MUSICAL DIRECTION - CLAIRE HEALEY

BEST CHOREOGRAPHY IN A MUSICAL - BRENDAN YEATES

BEST COSTUME DESIGN OF A MAINSTAGE PRODUCTION - NICOL & FORD

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CAST

Natasha GRACE DRISCOLL

Pierre ZOY FRANGOS

Anatole JULES PENDRITH

Sonya KALA GARE

Hélène MARISSA SAROCA / ZELIA ROSE

Marya JILLIAN O’DOWD

Mary LILLIAN HEARNE

Andrey/Bolkonsky P. TUCKER WORLEY

Balaga ANTON BEREZIN

Dolokhov CAMERON BAJRAKTAREVIC-HAYWARD

Swings TOM NEW & SKYE BEKER

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CREATIVE TEAM

Musical Direction CLAIRE HEALEY

Choreography BRENDAN YEATES

Set Design TYLER HAWKINS

Costume Design NICOL & FORD

Lighting Design VERONIQUE BENNET

Sound Design DYLAN ROBINSON

Associate Director & Dance Supervisor JADE HUI-WEN COUTTS

Stage Manager ISAAC BARRON

Assistant Stage Manager INDIA LIVELY

Production Manager JESSICA PIZZINGA

Intimacy Coordinator & Safety Consultant BAYLEY TURNER (CREATIVE CONSENT)

Music Consultant VICTORIA FALCONER

Assistant Music Director MARISSA SAROCA

Deputy Music Director BENJAMIN KIEHNE

Access, Equity & Inclusion Manager CESSALEE STOVALL

Deputy Head of Sound/Mic Tech HANNAH PALMER

Lighting Programmer LYNDON BUCKLEY

★★★★★

An absolute must-see that is a testament to the transformative power of theatre. Natasha, Pierre and The Great Comet of 1812 makes its Australian premiere at the Darlinghurst Theatre Company, delivering an outstanding production that will leave you mind-blown. …an absolute gem, highlighting the transformative power of theatre. The seamless integration of superb performances, mesmerising music, innovative staging, and audience involvement creates a spellbinding experience that will leave you captivated long after the final bow. If you're seeking a theatre experience that challenges conventions and transports you to a bygone era while exploring timeless themes, do not miss this exceptional production. Treat yourself to an unforgettable night of pure entertainment as you are swept away on a journey of love, passion, and the complexities of the human spirit.

THEATRE THOUGHTS

★★★★★

Dave Malloy’s cult Broadway hit, Natasha, Pierre & The Great Comet of 1812 has landed in Sydney with a queer touch and a bold vision – this is the kind of show Sydney needs more of! Dean Drieberg has milked this text for all the humour and emotional clarity he can – you won’t be bored, or confused for a second. There are moments of pure beauty and bliss here not to be missed.

CULTURAL BINGE

★★★★★

Five exultant stars. Sensational. The story holds up brilliantly. I was very much drawn into it.  A pop rocking good show for the here and now.

SYDNEY ARTS GUIDE

★★★★

The sumptuous and imaginative Australian debut of this folk-infused electro pop-opera is a spectacle to behold. Sumptuous, engrossing, intelligent and properly immersive, the Australian debut of electro pop-opera Natasha, Pierre and The Great Comet of 1812 is a stunning accomplishment of creative collaboration. It's exciting enough to see this landmark show finally hit the Australian stage, but what makes this production even more exciting is the way that it has been totally transformed by the local cast and creative team. In The Great Comet, the various threads of this slice of epic storytelling are spun through a visually and sonically sophisticated fever dream. 

TIMEOUT

★★★★

Directed by Dean Drieberg, the production is full of vitality, with a mischievous spirit that truly endears. …each number is richly conceived by Drieberg, in partnership with choreographer Brendan Yeates, to deliver an engrossing experience that talks to us on a visceral level, endlessly fascinating and unpredictable.

SUZY GOES SEE

Out of this world! From the moment the lights dim, you’ll embark on an immersive journey that offers a unique blend of storytelling and music. Prepare to be transported to a mesmerizing world that will leave a lasting impression. The innovative storytelling, combined with the stunning set design and lighting, creates an immersive experience unlike any other. The performances are awe-inspiring, leaving a lasting impact. This musical is a triumph of artistry and emotion that should not be missed.

THE PLUS ONES

This production of Comet is masterfully crafted by Dean Drieberg, whom I believe, given what I witnessed last night, has a vivid imagination, incredible vision... I hope he continues to make art like Comet, to see the world in a unique way and to entrance audiences with something that might be different, not necessarily the norm, but is, below the surface so much better than everyday theatre experience.

THEATRE TRAVELS

★★★✰

This is an imaginative production, directed by Dean Drieberg, in which everyone and everything does double duty, from the performer-musicians to the comet-disco ball and to the small circular stage that feels part circus ring, part neon-lit dance floor.

SYDNEY MORNING HERALD

Director Dean Drieberg and Music Director Claire Healy use every tool at their disposal to immerse the audience in the story and its music, including having the cast gallivanting around the multitiered stage, over tables and across a mid-audience runway in some moments, while in others reducing the stage to an inky black, with a single spotlight and a piano. It’s a different kind of musical to grace a Sydney mainstage, and most definitely a strange but welcome one.

TOASTING AUSSIE THEATRE

Natasha, Pierre & The Great Comet of 1812 is a raucously ridiculous assault on the senses. It needs to be seen to be believed so grab your tickets and buckle up!

DAILY ADDICT


PASSING STRANGE

PASSING STRANGE

BOOK & LYRICS BY STEW | MUSIC BY STEW & HEIDI RODEWALD

AUSTRALIAN PREMIERE

Directed by DEAN DRIEBERG

Associate Director CESSALEE STOVALL

Presented by ANTIPODES THEATRE

MEAT MARKET, MELBOURNE - 24 JUNE - 10 JULY, 2022

2023 GREEN ROOM AWARDS ASSOCIATION NOMINATIONS

OUTSTANDING PRODUCTION FOR MUSIC THEATRE

ENSEMBLE ARTISTS FOR MUSIC THEATRE

MUSIC DIRECTION FOR MUSIC THEATRE - MARISSA SAROCA

LEADING ARTIST FOR MUSIC THEATRE - AUGUSTIN TCHANTCHO

SUPPORTING ARTIST FOR MUSIC THEATRE - ZAHRAH ANDREWS

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CAST

Narrator AUGUSTIN TCHANTCHO

Youth GRANT YOUNG

Mother SASHA HENNEQUIN

Ensemble ZAHRAH ANDREWS, TIER ATAING, GABRIELA VAN WYK & THEO WILLIAMS

Swings GUILLAUME GENTIL & ASHA KHAMIS

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CREATIVE TEAM

Musical Direction MARISSA SAROCA

Choreography LOREDO MALCOLM

Set & Costume Design BIANCA PARDO

Lighting Design SAM WYLIE

Sound Design EVAN DRILL

Dialect Coach MARK WONG

Casting RHYS VELASQUEZ / EVOLUTION CASTING

★★★★★

Directors’ Dean Drieberg and Cessalee Stovall production is one of the most emotionally resonant, vital and joyful theatrical and musical experiences I’ve had in years. The piece is structured like a gig and Drieberg and Stovall as production leaders have certainly evoked the raw elation that comes from being at what feels like being at the most exciting concert in town.

THEATRE PEOPLE

★★★★

This transcendent production will blow your mind. Director Dean Drieberg has helmed several brilliant productions, the staging of his Passing Strange is striking in its pure theatrical simplicity. Different locations are skilfully created out of thin air and there are gorgeous pops of imaginative physicality throughout. Drieberg also knows that the score is really the heart of this piece, and he ensures that the music constantly drives the staging and storytelling. This gloriously transcendent show is so much more than your average musical and Melbourne audiences should rush out immediately to experience this utterly captivating and unique theatrical event.

ARTS HUB

★★★★✰

Antipodes Theatre’s Passing Strange was a joyous romp of rock-musical glory. Fundamentally charming, touching, and one hell of a good time, Antipodes Theatre have done what Youth spent the whole show dreaming of – they’ve created something real.

PROMPT SIDE

The entire show has an extremely polished look with great cohesion in the colour scheme of the costuming, combined with very stylish choreographed movement and mime. Yet the show is also able to convey a very relaxed and authentic atmosphere which further adds to its power. This performance exudes elegance and flair and provides sheer foot stomping enjoyment. Don’t miss it!

STAGE WHISPERS

Director Dean Drieberg also contributes mightily to the throbbing pulse of the show, keeping the storytelling stakes high and having the cast in almost constant motion. The cast members often need to traverse from one end of the stage to the other, the payoff is an inalienable bond between artists and audience that raises the emotional impact of the show. Supported by the insightful writing, Drieberg creates a strong sense of place in each of the locales where the Youth spends time.

MAN IN CHAIR

Told with humour, heart, and wildly energetic music…rivals any other musical you could experience this year.

THEATRE TRAVELS


SUNDAY IN THE PARK WITH GEORGE

SUNDAY IN THE PARK WITH GEORGE

MUSIC & LYRICS BY STEPHEN SONDHEIM & BOOK BY JAMES LAPINE

Directed by DEAN DRIEBERG & SONYA SUARES

Presented by WATCH THIS

WHITEHORSE CENTRE, NUNAWADING 9 - 10 AUGUST, 2019

GEELONG ARTS CENTRE, GEELONG 15 - 17 AUGUST, 2019

LAWLER THEATRE, MELBOURNE - 21 - 24 AUGUST, 2019

2020 GREEN ROOM AWARDS ASSOCIATION NOMINATIONS

DIRECTION FOR MUSIC THEATRE - DEAN DRIEBERG & SONYA SUARES

MULTIMEDIA DESIGN FOR MUSIC THEATRE - DEAN DRIEBERG & DAMIAN DUNNE/MILKED STUDIOS

LEAD ROLE IN MUSIC THEATRE - VIDYA MAKAN

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CAST

George NICK SIMPSON-DEEKS

Dot/Marie VIDYA MAKAN   

An Old Lady/Blair JACKIE REES

Jules/Bob ANTON BEREZIN

Yvonne/Naomi COURTNEY GLASS

Louise GRETA WILKINSON

Louis/Man lying on Bank/Billy RAPHAEL WONG

Nurse/Mrs./Harriet GEORGINA HOPSON

Mr./Young Man/Lee ANTHONY CRAIG

Woman with Baby/Photographer LAUREN GOETZ

Soldier/Alex JORDON MAHAR

Celeste #1/Elaine SARAH KRNDIJA

Celeste #2/Waitress GRACE BROWNE

Boatman/Charles WINSTON HILLYER

Franz/Dennis JOSH DIREEN

Frieda/Betty ANGELA LUMICISI

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CREATIVE TEAM

Musical Direction NED WRIGHT-SMITH

Choreography ZOEE MARSH

Costume Design RHIANNON IRVING

Set Design SARAH TULLOCH

Lighting Design ROB SOWINSKI

Sound Design MARCELLO LO RICCO

Projection Design DEAN DRIEBERG & DAMIAN DUNNE/MILKED STUDIOS

★★★★

Watch This has been presenting Sondheim shows for several years now and Sunday in the Park is their best yet. Mounting a production of such a beloved show is daunting for any theatre company, but they rise to the challenge.

ARTS HUB

 

Sunday In The Park With George presented by Watch This is executed to perfection and is a must see for the 2019 Melbourne musical season. Directors Dean Drieberg and Sonya Suares have done a fantastic job in bringing Sunday In The Park With George to life for a contemporary audience. Their interpretation not only focuses on the importance of George's character arch but also that of his lover Dot. Their vision for the show is articulated and accomplished extremely well.

BROADWAY WORLD

 

Under the direction of Dean Drieberg and Sonya Suares, have put together a simply astounding show. Drieberg and Suares have clearly taken a word of advice from George, that “every little detail plays a part”, and as a result have produced a show worthy of a much longer run and a much bigger audience.

THEATRE PRESS

 

Sunday is a deceptively challenging work to stage but what Watch This and co-Directors Dean Drieberg and Sonya Suares have pulled off is absolutely remarkable.

AUSTRALIAN STAGE

 

Directors Dean Drieberg and Sonya Suares fashioned something marvellous with this year’s offering of Sondheim.

ARTS REVIEW

 

Directors Dean Drieberg and Sonya Suares ensure that character leads everything on the stage and that the performers let the characters feel personal. This production isn't a deconstruction of a man able to spend his days making art that he thinks will change the world. It's not about the finished piece. It's about what he leaves out of the canvas (score/book/review), what he changes, and what he distorts to fit his idea of perfection. Watch This don't make us stand in the middle of the gallery and look at the work of a "genuis". This Sunday in the Park with George moves us to the corners and behind the crowds where the view isn't as clear and perfect. It's a production for us and for now.

SOMETIMES MELBOURNE

 


bare the musical

BARE THE MUSICAL

Book by JON HARTMERE & DAMON INTRABARTOLO, MUSIC by DAMON INTRABARTOLO, LYRICS by JON HARTMERE

Direction & Set Design by DEAN DRIEBERG

Presented by STAGEART

CHAPEL OFF CHAPEL - 20 MARCH - 15 APRIL, 2018

2019 GREEN ROOM AWARDS ASSOCIATION NOMINATION

COSTUME DESIGN FOR MUSIC THEATRE - JODI HOPE

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CAST

Peter  ADAM DI MARTINO

Jason FINN ALEXANDER

Ivy  HANNAH MCINERNEY

Nadia  HANNAH GRONDIN

Matt  JAKE FEHILY

Lucas  TOM NEW

Tanya  MORGAN HEYNES

Kyra  STEPHANIE MARION MOOD

Chantelle  VANESSA MENJIVAR

Claire  MANDI LODGE

Priest  QUIN KELLY

Diane  HANY LEE

Zach  DAVID CUNY

Rory  ZENYA CARMELLOTTI 

Alan  JYE CANNON

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CREATIVE TEAM

Executive Producers KATHERINE ARMSTRONG & ROBBIE CARMELLOTTI

Musical Direction CALEB GARFINKEL

Choreography KIRRA SIBEL

Assistant Director CLARY RIVEN

Costume Design JODI HOPE

Lighting Design JASON BOVAIRD

Associate Lighting Designer MADDY SEACH

Sound Design MARCELLO LO RICCO

★★★★½

Director and set designer Dean Drieberg has created a slick and beautiful production. Bare is thrilling, passionate, clear, clean, precise and visually bold. Drieberg has a clear vision for this show and it was superbly executed on opening night. There are many wonderfully ingenious moments of staging. The final tableau, which I won’t spoil here, is courageous and effective. Even though the story is set in the year 2000, Drieberg knows that the themes explored are timeless and he brings them crashing into the contemporary political world.

ARTS HUB

 

Drieberg has ensured every moment of these characters’ lives is as realistic as possible. StageArt’s production lifts the material to soaring new heights, and is definitely worth the ticket.

THEATRE PRESS

  

★★★★½

Dean Drieberg returns to seamlessly steer this musical with fast paced movement and confronts challenging material head on - making the production so relatable. I enthusiastically suggest you go on ‘mass’ to this entertaining divine show with courageous direction.

MUSICALS REVIEWED

 

Director Dean Drieberg has taken a moderate script and, through exceptional performances and staging, lifted it to become something touching, fun, and entertaining.

ARTS REVIEW

 

Dean Drieberg's staging of the piece invited audiences to consider the voice and agency of young people. This was particularly evident in his stylised used of the theatre space and the actor's manipulation and transformation of objects on stage, showcasing that agency all the more. His use of elements of non-naturalism actually worked to highlight the intense realism of the piece, highlighting through fragmented staging a fragmented existence.

THE THEATRE ROOM

 

The ending to bare is poignant and touching. It's beautifully directed and leaves more than a few audience members wiping away tears. There is much to commend in StageArt's production of bare.

WEEKEND NOTES

 

bare is an emotional roller coaster that will have you gasping for breath. As the lights blinked out, I gasped and covered my mouth in shock at the symbolism in front of me.

GREGORY STORER


MEMPHIS THE MUSICAL

MEMPHIS THE MUSICAL

Book & Lyrics by JOE DiPIETRO, Music & Lyrics by DAVID BRYAN

AUSTRALIAN PREMIERE

Direction & Set Design by DEAN DRIEBERG

Presented by STAGEART

CHAPEL OFF CHAPEL - 6 - 28 OCTOBER, 2017

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CAST

Huey JAMES ELMER

Felicia ELANDRAH ERAMIHA

Delray IOPU AUVA’A

Gladys MANDI LODGE

Bobby NIK MURILLO

Gator ISAAC LINDLEY

Ensemble GREG PASCOE, LUCAS BIONDO, BIANCA BRUCE, TANISHA BUHANEC, WEM ETUKNWA, AGNES FIFITA, LAURA GREENHALGH, LACHLAN NASH, TSUNGIRAI WACHENUKA, CALLUM WARRENDER, STEPHANIE MARION WOOD and JASON YANG-WESTLAND

Felicia Cover VIDYA MAKAN

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CREATIVE TEAM

Executive Producers KATHERINE ARMSTRONG & ROBBIE CARMELLOTTI

Musical Direction NATHAN FIRMIN

Choreography KIRRA SIBEL

Assistant Director CLARY RIVEN

Lighting Design JASON BOVAIRD

Associate Lighting Designer MADDY SEACH

Sound Design MARCELLO LO RICCO

★★★★★

Dean Drieberg directs with sensitivity and pace, yet allows Memphis to unfold and develop without ever feeling rushed.

THEATRE PEOPLE

★★★½

Well directed and performed with infectious energy, this production strikes the right balance.

THE AGE

 

Director Dean Drieberg keeps energy high and pace snappy. Memphis tells an American story, yet racism and the quest for civil rights are universal. Drieberg ensures that the racial slurs and the acts of violence land with maximal impact, often drawing gasps from the highly engaged audience.

MAN IN CHAIR

It’s another magnificent show from this brilliant team. Director, Dean Drieberg, has designed a minimal set, plastered with posters of real artists that were playing in the 50s. Every scene ticked along at a nice pace, never rushing or overstaying their welcome.

ARTS REVIEW

Dean Drieberg has done a wonderful job with the text, not shying away from the reality of discrimination in 1950s America and how relevant the inequality argument remains.

AUSTRALIAN STAGE