Issue 2 2026

From the President

Hello members and past members

Our first 2026 play, The Heartbreak Choir by Aidan Fennessy, was warmly received by audiences. It was a large cast inclusive of the finale choir, and it was very gratifying to see so many new faces and old pals in both cast and crew, including an injection of familiar faces from musical theatre.

Tickets are on sale for our next play, Midnight Murder at Hamlington Hall written by Mark Kilmurry and Jamie Oxenbould, and directed by Declan Moore. The play provides a hilarious take on bad timing, incompetence and sweet optimism as it looks behind the scenes at the world of amateur theatre. A fun afternoon or evening at the theatre, not to be missed. Please tell your family and friends.

On a very sad note, please see elsewhere in this newsletter tributes to Tom Sweeney OAM, Gretel Davidson, and Jim Steel, who recently passed away. Tom was an icon of community theatre, Rotary and the Scouts, and he was my dear friend. Gretel and Jim were both long-serving and heavily involved members of Pymble Players; Gretel for over 25 years as director, actor and costumier supreme, and Jim for many years involved with light and sound operation, set construction and front of house.

We hope to see you all at Midnight Murder at Hamlington Hall for a great theatre experience.

Warm regards

Warren Blood
President

AND THAT’S A WRAP! – The Heartbreak Choir

By Aidan Fennessy
By arrangement with Nova Weetman c/- Creative Representation
Directed by Heather Pitt

20 – 29 March 2026

A Note from our Director

Audiences were delighted by this funny and warm-hearted play. The extraordinary cast portrayed their characters with depth and humour, creating believable friendships and meaningful dialogue. The singing was sublime! Audiences were charmed by the harmonies arranged by Mark Pigot. A huge thank you to the many individuals who joined us on stage during the final moments of the play, it was wonderful to have those voices join us with their lanterns glowing!

As my first experience directing for Pymble Players, I was supported by the wonderful team behind this production, including stage management, technical operations and marketing.

A big thank you to Nicholas Pang who created the realistic sound design that layered the action with meaning. The set (designed by Daniel Ferris, and constructed brilliantly over many Saturdays by Ian Ackland, Rob and Leah White) perfectly transported the audience to the rural country community hall and their emotional journey was reinforced by the sensitive and atmospheric lighting designed by Wayne Chee.

A huge thank you to Daniel Ferris who stepped up from assistant director to director in the last two weeks when I took over a part in the play!

Overall, I was extremely proud of our show and the professional standard we reached.

Heather Pitt, Director

By Mark Kilmurry & Jamie Oxenbould
By arrangement with David Spicer Productions
Commissioned and first staged by the Ensemble Theatre
Directed by Declan Moore

Cast

Rehearsals

A Note from our Director

Who doesn’t enjoy a really good laugh, particularly in these times when there’s so much going on not to laugh about! This play is the perfect antidote to all that. Your ticket is an invitation to come and lose yourself for a few hours in silliness, smiles and much laughter! 

We're bumping-in this weekend, and after our rehearsal process, I'm so pleased with how things are shaping up. The experienced and hardworking teams in charge of set build, painting, lighting, sound, costumes and props are all feverishly working away, producing some fantastic results. 

Then there’s a cast of comedy naturals that have made EVERY night of these rehearsals an absolute joy. Even though I’ve seen all the ‘jokes’ numerous times now, this bunch of talented players keep delivering them with a freshness and fun that is totally infectious!

Come join us and let this wonderful, wacky and well-written comedy top up your laughter levels. 

The show does come with a warning, however… you WILL leave with a big smile on your face!

Declan Moore, Director

VALE

GRETEL DAVIDSON - Life member

9 August 1939 – 3 May 2026

Gretel was a long-time member of Pymble Players and contributed in many ways over the years, both on and off stage. This broad contribution was appreciated and acknowledged with her Life membership. As well as being an actor and director, she was responsible for the wardrobe in many productions, managed props, was a rehearsal prompt and served countless cups of coffee in the old Pymble Players venue. In the words of her daughter, Gretel (Jnr), Pymble Players provided her with a wonderful community and creative space.

Here is Gretel’s Life Story delivered at her Celebration of Life.

Born in Eastwood, 9 August 1939, second child of Gordon and Gwen Engleheart, with an older brother Milton who was 10 years older. She came from fairly humble beginnings, living the early years in the flat above Gwen’s millinery shop on Rowe Street at Eastwood before the family moved to Wyralla Avenue, Epping.

Gretel attended Eastwood Primary School (along with Jan Jenings, now Stanwell, who is/should be here with us today), before attending Hornsby Girls High School, where she completed the Leaving Certificate in 1955.

She commenced studies at what was then called Teachers’ College, but decided it was not for her, so took what would now be called a gap year and got a job at the Bureau of Census and Statistics where she made a number of friendships with lasting consequences. After gaining a Commonwealth Scholarship, she then commenced studies in physiotherapy at Cumberland College, where she met long term friend Litzi.

Sometime around mid-1958, Gretel was invited as the “plus-one” of a fellow named Karl, to the 21st birthday party of one Ian Davidson. The story has it that Ian’s mother and sister picked young Gretel from the crowd of young ladies as the pick of the crowd. Fast forward to December 1959, when Ian had finished university and was working in Newcastle. He needed a date to accompany him to the 21st birthday party of one Jan Jennings, a work colleague. He had a number of contenders for that honour but chose young Gretel Engleheart (whose boyfriend Karl had gone overseas at this stage) as she lived the closest to the party and hence would be the cheapest taxi fare. Well, after that Friday evening event, they went out again on Saturday, and Sunday, and the rest, as they say, is history.

Gretel and Ian married in February 1962 and lived in Newcastle where Ian worked at the steelworks, and Gretel started work at the Mater Hospital where she met ladies such as Rina Desoe and Joy Cady who remained lifelong friends. Ian and Gretel proudly built their first house in Newcastle and stayed long enough to welcome young Scott and Craig in 1964 and 1966. Ian’s work then took them to Adelaide, where they welcomed Fergus in 1968 before being transferred to Manila. The experiences and friendships arising from their time in the Philippines certainly enriched their lives.

In 1970 a pregnant Gretel, with her three young boys and a suitcase of toy cars, boarded a flight back to Brisbane to join Ian. A daughter arrived later in the year. Family lore has it that, expecting a fourth boy, they hadn’t contemplated girls’ names, and when a daughter arrived, in the emotion of the moment, Ian proposed to name the daughter Gretel. And so, it was.

And with that the family was complete. A move to Sydney 18 months later was the last significant move for the family as the children settled into schools, and Gretel and Ian into their work lives.

Gretel, who had worked as a physiotherapist in all the cities they had lived in (including Manila), took up a teaching role at Cumberland College for a number of years before becoming head of the physiotherapy department at Hornsby Hospital from the late 70s to the late 80s in a whirlwind decade of full-time work and a busy family life. She then ventured into solo private practice in St Ives for several years before easing towards retirement. After retiring from physiotherapy, Gretel rounded off her career working as a medical receptionist in a number of practices.

Retirement, however, wasn’t busy enough for Gretel, so she then became a volunteer part-time teachers’ assistant at Killara Public School for about 20 years into her late 70s. In a full circle back to her original foray into teaching, she thoroughly enjoyed guiding many students, often of non-English speaking backgrounds and struggling to settle into school. She would take individual students aside for assistance with reading or maths, or whatever they needed. This role was a source of great fulfilment for Gretel, and her involvement was regularly lauded by the school. Each year her birthday would be acknowledged by the teachers, and she would be amused by the students guessing her age – often into the three digits.

Throughout all these years, Gretel maintained a keen interest in amateur theatre and musical theatre. She was involved predominantly with Hornsby and Willoughby Musical Societies, performing in a dozen or more musicals over a 20-year period. Later, her talents shifted towards straight theatre. She was heavily involved in Pymble Players for over 25 years. She produced, directed, acted, prompted, and designed and made costumes for many years. She was still doing front of house in her 80s.

In their later lives, Gretel and Ian were very involved in the Probus Club and were still playing bridge (which they had learnt when they went to the Philippines as a way to make social contacts) until they moved to Fernbank in 2023.

Gretel and Ian also travelled enthusiastically in their retirement, with a number of trips to Europe, America, Canada and Asia, visiting Craig in Dubai and New Zealand, and extensively around Australia. They enjoyed cruising in the later stages and again made many enduring friendships amongst fellow passengers. Their holiday unit at Shoal Bay was a haven for them in their retirement and hosted many social weekends with friends and family.

Throughout all the house-moving, jobs, and community and social groups, Gretel and Ian maintained many friendships through the decades. The historians who prepared this (i.e. the offspring) weren’t entirely sure of all the dates and locations that friends had entered their lives, but there are many who lasted the distance: the Stanwells, Lembergs, Desoes, Cadys, Clarksons, Chapmans, Dunns, Atkinsons, Juchaus, Dandos, Van Es’s, Nielsons, Helen B, and Lochties to name a few, as well as the many, many others who were involved in theatre, Rotary, Probus, former Ernst and Young partners, Bridge ladies, neighbours, “the Canadians”. (Apologies to anyone left off the list).

With all this busy work and social life, Gretel also made time to be a mum of four busy kids, and then Oma to nine grandkids (of whom five were in Sydney). In the days when shops were only open Thursday evenings and Saturdays until midday, when phone calls had to be made while standing in one spot fixed to a wall (and in competition with the four kids for time on the phone), when there was no such thing as online shopping, robot vacuum cleaners, Uber, paid dog-walkers or even ready-to-eat meals in the supermarket - she did it all herself. She passed on to her family her love of music and musicals, and reading (especially AA Milne). Her boundless energy made for a full and busy life, which only slowed down in the last few years as ageing caught up with her.

Gretel’s soul left this world peacefully as she slept in the early hours on 3rd May, by the side of Ian, her husband of 64 years. Those who knew her shining light will remember her for her sense of humour, her playful fun-loving disposition, her creativity, and her dedication to her family and friends. She maintained her humour to the end, and that is how she would like to be remembered.

TOM SWEENEY OAM – Vice President

20 August 1947 – 6 May 2026

Tom was a tireless champion of theatre whose support has meant so much to many of us over the years. Since joining Pymble Players in 2018, Tom made his mark on many Pymble Players productions as assistant director, actor, set designer, production consultant, set builder, wardrobe, front of house manager, effervescent “meet and greeter”, committee member and Vice President. Tom assisted his wife, Joy Sweeney, Director on It’s Only a Play, Gaslight, Moonlight and Magnolias, The Odd Couple (female version), and Dial M for Murder.

Here is the eulogy delivered at Tom’s Celebration of Life by Scott Richmond, President, Willoughby Theatre Company.

Today, we gather not just to farewell Tom Sweeney OAM, but to celebrate a life that was lived loudly, generously, and with extraordinary purpose.

I first met Tom nearly 40 years ago, before I had even joined Willoughby Theatre Company. We were performing together in a couple of reviews at Glen Street Theatre, and I remember thinking, “I’ve never met anyone like this man.” Tom didn’t just walk onto a stage… he owned it. There was a presence, a flair, a charisma and panache in its truest sense. A couple of years later, when I joined Willoughby Theatre Company, I realised that what Tom brought to the stage, he brought to everything. The energy, the passion, the commitment. It was relentless.

Tom joined what was then the Willoughby Musical Society in 1969, performing in the chorus of Oklahoma!. Within a year, he was on the committee… and in many ways, he never left. Over more than five decades, Tom helped build what we now know as Willoughby Theatre Company into one of the leading community theatre companies in the country. He directed 37 productions, including six Australian premieres. He performed, designed scenery, costumes, worked backstage, made props, worked front of house… and yes, he even made the tea. And if you were part of a production, you knew you were part of something much bigger than just a show. You were part of Tom’s world.

Not long after joining the Company, I also found myself on the committee and, like so many others, was swept up in the energy Tom brought to every facet of the organisation. At meetings, we would solve the world’s problems… or at least try to. We’d debate what show to do next, who should be on the production team, whether it would make any money, and somehow work out how we were actually going to pull it all off.

As time went on and the committee evolved into a Board of Directors, meetings were often held around the Sweeney dining room table. Discussions were fuelled by some “light refreshments” and Tom’s legendary fresh bread and ham sandwiches. Those nights were special. They weren’t just meetings, they were community in its purest form. And that’s what Tom helped build: a community. Like many of you here today, I was also “encouraged” by Tom to do more. And by encouraged… I really mean told. Tom had a remarkable knack for convincing people to direct, choreograph, sew costumes, build sets, source props, run front of house, or whatever else needed doing at the time.

And somehow, you always said yes. Because when Tom believed you could do something, you started to believe it too. All of it was driven by one goal: delivering the very best community theatre we could.

He went on to shape productions such as The Boyfriend, Cats, 42nd Street, Chicago, Titanic, Mack and Mabel, The Scarlet Pimpernel, Strictly Ballroom and so, so many more. Moments that now live on in all of us. And of course, many of us will never forget Tom as the ultimate Thénardier in Les Misérables. Larger than life… a little bit cheeky. Commanding the room with that unmistakable twinkle in his eye. The truth is… that wasn’t really a performance.

Of course, Tom’s impact extended far beyond Willoughby. There was Pymble Players, Theatre on Chester, Hornsby Gang Show, Scouts, community events and an endless amount of work for Rotary. There were countless other organisations that benefited from his energy and generosity. Across Sydney’s theatre and community landscape, Tom was a constant. A connector, a mentor, and a champion of people, and of the arts. Tom’s life was never confined to a single title or profession. He was a director, producer, teacher, celebrant, event organiser, mentor and community leader… and very often all those things at once. From major civic events like the opening of the Sydney Harbour Tunnel, to directing large-scale productions, to standing beside people as they were married or farewelled, Tom had an extraordinary ability to be present in the moments that mattered most.

When I first met Tom, he was working with the Royal Institute for Deaf and Blind Children, and later he became involved here at Macquarie Park, where many came to know him through his celebrant work and community involvement. Tom officiated weddings for some people in this room. Members, friends, families. And, in moments like today, there is something incredibly special about a man who could stand beside you in both your greatest joys and your deepest sorrows, bringing the same warmth, humour and humanity to each.

Tom had a gift for making people feel seen… valued… and welcome. Over the past few days, we’ve heard so many stories. Stories of lives changed. Of young performers given their first opportunity. Of friendships formed, careers launched and confidence restored. People who walked into a rehearsal room unsure of themselves… and walked out believing they belonged. That was Tom’s magic. He didn’t just direct shows, he directed people toward their potential. And always… there was Joy. There is no Tom without Joy. Together, they have been the heartbeat of this community. Partners in life, in theatre, and in everything. From their first production together in Brigadoon, to decades of shared experiences both on and off stage, theirs is a partnership that has shaped all of us. A true love story, and one we have all been privileged to witness.

Tom’s leadership as President came at a pivotal time in this Company’s history. He guided WTC through one of its greatest transitions, from the Bailey Hall stage to The Concourse Theatre. He was closely involved in the development of this extraordinary venue and then directed its opening production, The Boy from Oz. For most people, that would have been enough of a legacy. For Tom, it was simply another chapter.

Tom’s extraordinary contribution to both the performing arts and the wider community was recognised in 2018 when he was awarded the Medal of The Order of Australia, the OAM, in the Queen’s Birthday Honours. The award acknowledged his decades of service to the performing arts and to the community of Willoughby… recognition that was so richly deserved. In 2022, WTC established the Sweeney Award in honour of both Tom and Joy. Presented at the end of each production, the award recognises someone who commits themselves wholeheartedly to a show and embodies the warmth, generosity and spirit that Tom and Joy have always represented. Tom absolutely loved presenting that award with Joy. In March 2024, when the old Pavilion space at The Concourse was reborn as “The Lounge,” it felt only fitting that a larger-than-life image of Tom, proudly wearing his trademark boater hat, would be included in a huge montage that greets people as they entered the theatre space. And honestly… where else would he be?

Tom’s contribution to the broader community was equally extraordinary. Senior Citizens concerts, Council events, Rotary, Scouts, workshops, charity initiatives, the list goes on and on. But what mattered most wasn’t the number of things he did. It was how he did them. With joy, in the truest sense of the word. With generosity, with heart. And always with a joke. Tom loved a joke. Sometimes they were good, sometimes… well… we laughed anyway because it was Tom. And you simply couldn’t help but smile.

On a personal note, I owe Tom more than I could ever properly express. His friendship, guidance and support helped shape my journey, as they did for so many of us here today. I am incredibly grateful to have known him, learned from him, and called him a friend. And somehow, despite the thousands of people whose lives he touched, Tom knew everyone’s name. He knew all four of my sons’ names… and usually in the right order. He made a game of it… and he was good at it!

Tom’s legacy is not simply in the productions he directed, the performances he gave, or the events he helped create. His legacy lives in people. In the confidence he gave a 16-year-old during their first show. In the friendships formed in rehearsal rooms. In the families that exist because two people met through this community. In every laugh, every story, and every conversation that begins with the words: “Do you remember when Tom…” That is a legacy that will endure for generations. Tom gave us more than we could ever repay. But we will honour him the best way we know how: By continuing what he started. By supporting each other. By nurturing new talent. By keeping this extraordinary community alive and thriving. And by always making time for a cuppa, a sandwich, a story… and a laugh. Tom truly was the “Master of the House.” And what a house he built. A house filled with creativity, laughter, inclusion and an enduring love of theatre and its people. The house lights may dim, but his spotlight will never fade. We applaud you now, our own “Master of the House,” as you take your final bow.

JIM STEEL – Life member

On the recent passing of Jim Steel, here is a Tribute to Jim by Geoff Jones, Life member.

Pymble Players mourns the death of Jim Steel. Jim was a long serving stalwart of Pymble Players. He performed many important functions including set construction, front of house, lights and sound operation. Jim was awarded Life membership in recognition of his dedication and commitment. He was widely respected as one of life’s true gentlemen.

In his later years Jim would continue to perform front of house duties, organising the set up and re-setting of the Hayward Hall and in bringing his cheerful warmth to patrons and colleagues alike. Regrettably in more recent years, Jim was unable to continue his much-loved role on front of house due to driving limitations – certainly not to a lack willingness.

Jim was a patient and supportive trainer to new Pymble Players members. We recall his determination to perform any task to a high level.

I remember a moment where Jim was operating lights and sound for Dead White Males and after the show, he expressed his disappointment for a less than perfect performance. This was the mark of the resolve of the man for an oversight that nobody else would have noticed!

We thank Jim Steel for his kindness, commitment and professional level dedication in his long-term contribution to Pymble Players.

Jim's Celebration of Life will be held at 11:30am on Monday 3 August 2026 at St Peter's Anglican Church Hornsby, 207 Peats Ferry Road, Hornsby NSW 2077.

A Love Letter to Community Theatre Volunteers

There is a moment in every show, right before the lights go down, where everything feels a little electric. The audience settles in. The set is waiting. The room changes. And for a second, it all feels effortless. But of course, it never is.

Why Dress Rehearsal Is a Love Letter to the Crew

Dress rehearsal reminds everyone in the room that theatre is handmade. It is carried by people who may never take a bow, but whose work is inside every laugh, every blackout, every entrance, every quick change, every perfectly timed piece of stage magic.

Kate Mannix – The Day of the Triffids, New Theatre, Newtown. 30 June to 25 July.

Clive Hobson and Catherine Potter – The Dining Room, Theatre on Chester, Epping. 24 July to 15 August.

Tim Wotherspoon – Jesus Christ Superstar, Rockdale Musical Society, Riverside Theatres Parramatta. 5 to 8 August.

Nick Roberts – Baskerville: A Sherlock Holmes Mystery, The Guild Theatre, Rockdale. 14 August to 5 September. 

Gina Willison, Cassandra Gorman and Tonia Davis – Bittersweet Productions, KNOWING HOW IT ENDS? One Act Plays. Eternity Playhouse, Darlinghurst. 21 & 22 August. 

Chantal Harrison – After Dinner, Lane Cove Theatre Company, The Pottery Lane Performance Space, Lane Cove. 21 - 30 August.

Ross Alexander, Nathan Heinrich, Emma Lebeuf and Christine Rule – Black Coffee, Hunters Hill Theatre, Ryde. 21 August to 13 September.

Tonia Davis and David Allsopp – Rhinestone Rex and Miss Monica, Elanora Players, Narrabeen. 2 - 10 October.