Wings Theatre proudly presented the US premiere of “Dutch Courage” to a rapturous audience response. The multi talented cast gave it their all as they performed their hearts out in Wing’s intimate Christopher Street Theatre in a piece that will live on in the hearts and minds of many. Starring as Greta, Kenny Wade Marshall never took a wrong step as he found the heart, humour, and chutzpah to play Greta, the fearless leader of a group of gay resistance workers. His rendition of “Beautiful” and “They Can Take Nothing From Me” were at once moving and thoughtful. His work in the Opening “Queen of Amsterdam” and “Mien Gott” was hilarious. A star turn from a new diva. Daryl Brown’s Jakob had an elegant simplicity to his performance. His role as both present day narrator and Greta’s second in command is the glue that holds the story together. Greta and Jakob recruit a group of young men to ensnare the Germans. Matthew Napoli (Jopie) Matthew Burton (Jan) Dustin Tyler Moore (Rost) Daniel Moser (Willem) and Ben Strothmann (Derk) entrtained with their disciplined ensemble work in “Fags Can’t Fight”, though special mention must be given to Matthew Burton’s lead in “Sleeping With The Enemy”, Daniel Moser’s “Final Bow” and a sensational rendition of “Only Fools” and “Reprise” by Dustin Tyler Moore.    New York Production Photos by Carlos Gustavo Monroy              www.monroyphotographs.com Dutch Courage Makes Theatre Work At Theatreworks The Melbourne Season of DUTCH COURAGE (The Staged Reading) was one of those experiences you are so glad you didn’t miss. Rehearsed in an office annexe in Caulfield, the Australian musical came together magnificently in just 2 days rehearsal with this superb cast and team. Presented by MAGNORMOS, the 3 nights played to 75-80% houses. Not bad for a staged reading. There’s not much one can say about the Melbourne season of DUTCH COURAGE that does not come in superlatives. This makes it all the sadder that the writers could not be there to see it. Associate Director and Choreographer, Velalien (who also worked the Sydney reading), had a wonderful chance to really strut her stuff. The cast pounced on her chory and everyone was really proud to bring that extra element of choreographic story-telling to an already-rich story. She’s a marvel. (It’s not a well-kept secret that she and the producer, Aaron Joyner, had way too much fun in the bio box while the shows were running). Musical Director, Hayley Johnson, did a crash course in DC in about 2 and a half weeks! She took all the singers through their paces with so much calm and intelligence. Always a ‘find a way’ person, she gently got the best out of her cast and wasn’t afraid to let them know how astounding they were. And they were. Sean Peter’s work was delivered superbly. The great news is that Hayley is going to MD the show in New York! I’m sure that all the parties involved with the Melbourne production would join in sending her the hugest of CHOOKAS!  http://www.dutchcourage.info/ “Dutch Courage … written by Barry Lowe, with music and lyrics by Sean Peter, and performed here by Not So Straight Theatre`, judiciously mixes comedy, music and drama, with some homoeroticism for good measure. It presents a unique view about surviving as a homosexual in a world where Gypsies, Jews, blacks and gays lived in danger of extermination. Dutch Courage succeeds in treating these issues with a good deal of sensitivity, while being a riot in poor taste for most of the rest of the night.” - Tim Lloyd, Adelaide Advertiser, 14th February, 1997 (page 17) “Dutch Courage … draws on real people and events, told in flashback by Jakob (Michael Baldwin), the Jewish partner of transvestite Greta (Nick Gill), who uses her nightclub, Chez Sissy, as a cover for resistance work. This includes sleeping with the enemy for troop information and blowing up the Amsterdam records Office to prevent the Nazis cross-checking forged identity papers. The action moves between nightclub scenes, where Greta does her drag queen patter among the audience and the trouipe sends up war a la Cabaret in clever songs such as “Fags Can’t Fight”; and the oddtage chronicling of their resistance activities and emotional entanglements.” - John Edge, The Bulletin, 25th February, 1997 (page 70)