MAJOR AUSTRALIAN FESTIVALS COMMISSIONING SITE 2020

Brisbane Festival is an initiative of the Queensland Government and City Council

1/ WELCOME

On behalf of the Confederation of Australian The Confederation has had the privilege of CAIAF acknowledges the traditional International Arts Festivals, welcome to the Major administering the MFI fund since 1995 resulting owners of the land on which we gather, the Australian Festivals Commissioning Site. in the development of hundreds of new Turrbul and Yuggera people. We recognise Australian works. and respect their cultural and creative As we are all acutely aware, 2020 has been heritage and acknowledge their ongoing deeply challenging for the global cultural sector. Over the next two days we are delighted to be contribution to our shared future. When the pandemic hit earlier this year, the able to share with you projects in varying states Confederation met to consider how best to of development. The work of the selected artists The 2020 Major Australian Festivals respond within available resources and the scope is seen to be ready for further development and Commissioning Site is produced by of the Australian Government’s Major Festivals presentation, and we commend them to you for Brisbane Festival for the Confederation Initiative (MFI) fund. Simultaneously, many of your consideration. of Australian International Arts Festivals, our Festival members were recalibrating their funded by the Australian government’s I thank the Brisbane Festival for hosting this traditional festival formats and offerings against Major Festivals Initiative (MFI) through event in the midst of delivering a newly designed a backdrop of a constantly changing horizon of Australia Council for the Arts. Festival. To those joining around Australia and health and border restrictions, artist and audience abroad, I am delighted that you have joined us expectations; each of us are now looking towards in commissioning the next crop of exciting new MFI COMMISSIONING a very different 2021. Australian work. SITE 2020 The $1.5 million annual MFI fund supports the commissioning of new Australian works RICHARD EVANS PRODUCTION TEAM by the seven major multi-artform capital city CHAIR Melinda (Min) Collie-Holmes international arts festivals. The Confederation Producer/MC member Festivals, co-commissioners and Jess Audsley production partners collectively contribute Associate Producer 50% of their own funds towards seeding, developing and producing new work, resulting Craig Wilkinson/optikal bloc in approximately $3 million worth of work being Vision Mixer supported each year. Once commissioned, Chelsea Chua member Festivals and other presenters go on to Programming Intern fund the presentation of these works, all of which are presented nationally and some of which go on to tour internationally over many years.

2/ 3/ DELEGATES NATIONAL DELEGATES

CAIAF RISING ASSOCIATE MEMBERS FESTIVAL CENTRE BRISBANE POWERHOUSE NORPA Richard Evans Gideon Obarzanek AUCKLAND ARTS FESTIVAL Liz Hawkins Kris Stewart Julian Louis Chair Co-Artistic Director Shona McCullagh Director or Programming, Development and Artistic Director Artistic Director Artistic Director Venue Sales Julia Herne Hannah Fox Katherine Hoepper PACA Secretariat Co-Artistic Director David Inns APAM Programming Director Katherine Connor Chief Executive Catherine Jones Executive Director Kath Mainland BRITISH COUNCIL Director Neil Armfield AO Executive Director NEW ZEALAND FESTIVAL/ TAWHIRI Helen Salmon QUEENSLAND PERFORMING ARTS FESTIVAL AND EXPERIENCES CENTRE Co-Artistic Director Mark Burlace Naomi Velaphi Director Meg Williams Program Producer John Glenn Rachel Healy Deputy Executive Director Executive Director THEATRE CENTRE Director, Programming Co-Artistic Director Rose Harriman ARTS CENTRE MELBOURNE Alex Budd Marnie Karmelita Rebecca Lamoin Elaine Chia Curatorial Manager Edwina Lunn Director Creative Director Director of Programming Director, Public Engagement and Learning Executive Director Lucy Forge Gill Hugonnet Angela Green Lesley Newton Executive Producer David Anderson Deputy Director – Programming RIVERSIDE THEATRE Head of Programming Head of Contemporary Performance Head of Programming Ally Harvey Robert Love AM COUNTRY ARTS SA Deputy Executive Producer Director Tess Appleby FUNDING PARTNER Daniel Clarke Anthony Peluso Program Manager Creative Producer, Theatre and Contemporary Catherine Swallow PERTH FESTIVAL AUSTRALIA COUNCIL FOR THE ARTS Chief Executive Performance Program Manager Kate Hillgrove Iain Grandage Alice Nash Executive Director Arts Investment Mary Harvey DEPARTMENT OF Program Manager Artistic Director INFRASTRUCTURE, TRANSPORT, OPERA HOUSE Creative Producer, Families and Children Andrew Donovan REGIONAL DEVELOPMENT AND Fiona Winning BRISBANE FESTIVAL Nathan Bennett COMMUNICATIONS Executive Director Director Multi-Year Investment, Arts Investment Angharad Wynne-Jones Director, Programming Charlie Cush Alison Todd Head of Creative Engagement Chief Executive Officer Anna Reece Jade Lillie Director, Arts Policy and Development Executive Producer Head of Sector Development ARTS HOUSE Louise Bezzina HOTA, HOME OF THE ARTS Artistic Director Norman Armour Emily Sexton Artistic Director SYDNEY FESTIVAL Virginia Hyam North American Representative Artistic Director Kate Fell Head of Programming Ben White Program Director Festival Director Sophie Travers Senior Producer General Manager ILLUMINATE ADELAIDE Skye Kunstelj DARWIN FESTIVAL Olivia Ansell Rachael Azzopardi Olivia Anderson Associate Producer Felix Preval Incoming Festival Director Co-Founder and Creative Director Producer Artistic Director Christopher Tooher (CAIAF Treasurer) THE ARTHOUSE WYONG MELBOURNE FRINGE Executive Director ARTS PROJECTS AUSTRALIA Anne-Marie Heath James Gough Simon Abrahams Ian Scobie Executive Director Acting CEO Vivia Hickman Creative Director and CEO Director Vanessa Wright Executive Producer Lee Cumberlidge MERRIGONG THEATRE COMPANY/ Program Producer ILLAWARRA PERFORMING ARTS TEN DAYS ON THE ISLAND Director CENTRE Simon Hinton Artistic Director AUSPICIOUS ARTS PROJECTS Artistic Director/CEO John Paxinos Jane Haley Executive Director Chief Executive Officer Leland Kean Acting Artistic Director Vernon Guest BLAKDANCE Executive Producer Merindah Donnelly NATIONAL THEATRE OF PARRAMATTA Executive Producer Joanne Kee Executive Producer BLEACH FESTIVAL/ PLACEMAKERS GOLD COAST Rosie Dennis Artistic Director/ CEO

4/ 5/ INTERNATIONAL DELEGATES PITCHING ARTISTS

AUCKLAND LIVE MANCHESTER INTERNATIONAL AUSTRALIAN DANCE THEATRE GRAVITY AND OTHER MYTHS TANDEM Bernie Haldane FESTIVAL Garry Stewart Jascha Boyce Fenn Gordon Director and General Manager of Programming Paul Clay Artistic Director Company Director/Marketing/Acrobat Executive Producer and Presenter Services International Director Nick Hays Darcy Grant TERRAPIN PUPPET THEATRE AURORA NOVA NEW THEATRE INSTITUTE OF LATVIA Executive Director Creative Lead Sam Routledge Bek Berger Wolfgang Hoffman Christie Anderson Artistic Director Artistic Director BARKING GECKO THEATRE COMPANY Director Artistic Director, Young Adelaide Voices Luke Kerridge THE FARM BAM NOORDERZON FESTIVAL OF Artistic Director Torben Brookman Gavin Webber PERFORMING ARTS & SOCIETY David Binder Helen Hristofski Co-Owner GWB Entertainment Co-Artistic Director Mark Yeoman Artistic Director CEO & Executive Producer Artistic Director GUTS DANCE Chloe Ogilvie Core Artist BARBICAN CENTRE BRINK PRODUCTIONS Frankie Snowdon Toni Racklin SINGAPORE INTERNATIONAL FESTIVAL Co-Artistic Director OF THE ARTS Chris Drummond THE LAST GREAT HUNT Head of Theatre and Dance Natalie Hennedige Artistic Director Madeleine Krenek Sian Roberts Co-Artistic Director BRIGHTON FESTIVAL Festival Director Karen Wilson Executive Producer Sally Cowling General Manager STANFORD LIVE ILBIJERRI THEATRE COMPANY THE NEW ZEALAND DANCE COMPANY Artistic Associate and International Programmer Chris Lorway CASUS CIRCUS Rachael Maza James O’Hara Artistic Director DAVID LIEBERMAN/ARTISTS Executive Director Natano Fa’anana Co-Artistic Director REPRESENTATIVES Co-Founder & Creative Director Nina Bonacci Tor Columbus David Lieberman THEATER DER WELT Senior Producer Co-Artistic Director President Stefan Schmidtke CIRCA Artistic Director Yaron Lifschitz Daniel Riley Caroline Bindon Allen Moon Artistic Director Associate Producer Artistic Manager Director of Touring and Artist Management WALES MILLENNIUM CENTRE Pádraig Cusack Shaun Comerford INSITE ARTS INTERNATIONAL Janine Dijkmeijer FIERY ANGEL ENTERTAINMENT Executive Producer Executive Director Penelope Leishman Creative Executive Director Michael Stevens Danielle Kellie Kate Hancock JP Bolton Head of Concerts and Special Events WEST KOWLOON CULTURAL DISTRICT AUTHORITY Senior Producer Creative Producer LEGS ON THE WALL HARBOURFRONT CENTRE Kee Hong Low Lauren Eisinger Joshua Thomson Ross McCormack Iris Nemani Head of Theatre International Development Manager Artistic Director Choreographer and Set Designer Chief Programming Officer Ho-Yin Ng Cecily Hardy VITALSTATISTIX Nathalie Bonjour Board Director, Amanda Levete Architects Senior Creative Producer Emma Webb Director, Performing Arts Director DANCENORTH Laura McLeod METRO ARTS Kyle Page Director, Cultural Engagement Jo Thomas INDEPENDENT ARTISTS Artistic Director CEO and Creative Director Emma Beech KYOTO EXPERIMENT Anna Breckon Amber Haines Matt Seery Juliet Knapp Sophia Brous Associate Artistic Director Producer Director Rachel Arianne Ogle DEAD PUPPET SOCIETY RESTLESS DANCE THEATRE Nat Randall LIFT FESTIVAL Nicholas Paine Michelle Ryan Justin Shoulder Kris Nelson Executive Producer Artistic Director Nathan Sibthorpe Artistic Director and CEO Lara Thoms David Morton Roz Hervey Freya Waterman Creative Director Creative Producer Lisa Wilson Tom Wright STEPHANIE LAKE COMPANY Stephanie Lake Artistic Director

6/ 7/ SCHEDULE DAY ONE TUESDAY 22ND

TIME (AEST) TIME (SA & NT) TIME (WA) TIME (GMT) SESSION PROJECT PERSONNEL FESTIVAL APPLICATION STAGE DURATION

12midday 11:30am 10:00am 2:00am Welcome to Country Shannon Ruska Tribal Experiences 5 mins

12:05pm 11:35am 10:05am 2:05am Welcome to MFI Commissioning Site Richard Evans CAIAF 5 mins

12:10pm 11:40am 10:10am 2:10am Welcome from Brisbane Festival Louise Bezzina & Charlie Cush Brisbane Festival 10 mins SESSION ONE

12:20pm 11:50am 10:20am 2:20am Pitch One Introduction by Brisbane Festival

Stunt Double The Farm Brisbane Festival Creative Development 15 mins

12:35pm 12:05pm 10:35am 2:35am Pitch Two Introduction by Brisbane Festival

PATROCLUS Dead Puppet Society/Legs on the Wall Brisbane Festival Pre-production 15 mins

12:50pm 12:20pm 10:50am 2:50am Pitch Three Introduction by Perth Festival

Tales from the Inner City Barking Gecko Theatre Perth Festival Creative Development 15 mins

1:05pm 12:35pm 11:05am 3:05am Pitch Four Introduction by Adelaide Festival

Guttered Restless Dance Theatre Adelaide Festival Pre-production 15 mins

1:20pm 12:50pm 11:20am 3:20am BREAK SESSION TWO

1:45pm 1:15pm 11:45am 3:45am Pitch Five Introduction by Rising

The Invisible Opera Sophia Brous RISING Creative Development 15 mins

2:00pm 1:30pm 12:00pm 4:00am Pitch Six Introduction by RISING

AEON Dagger Justin Shoulder RISING Creative Development 15 mins

2:15pm 1:45pm 12:15pm 4:15am Pitch Seven Introduction by Adelaide Festival

Emma Beech/Brink Productions/ The Photo Box Adelaide Festival Creative Development 15 mins Vitalstatistix

2:30pm 2:00pm 12:30pm 4:30am BREAK SESSION THREE

3:00pm 2:30pm 1:00pm 5:00am Pitch Eight Introduction by Adelaide Festival

Supernature Australian Dance Theatre Adelaide Festival Tour Ready 15 mins

3:15pm 2:45pm 1:15pm 5:15am Pitch Nine Introduction by Sydney Festival

Daniel Riley/ILBIJERRI Theatre Tracker Sydney Festival Creative Development 15 mins Company

3:30pm 3:00pm 1:30pm 5:30am Pitch Ten Introduction by Adelaide Festival

THE PULSE Gravity and Other Myths Adelaide Festival Pre-production 15 mins

3:45pm 3:15pm 1:45pm 5:45am BREAK SESSION FOUR

4:00pm 3:30pm 2:00pm 6:00am Pitch Eleven Introduction by RISING

Manifesto Stephanie Lake Company RISING Pre-production 15 mins

4:15pm 3:45pm 2:15pm 6:15am Pitch Twelve Introduction by Brisbane Festival

Bounce! Circa Brisbane Festival Pre-production 15 mins

4:30pm 4:00pm 2:30pm 6:30am Pitch Thirteen Introduction by Perth Festival

Whistle Blower The Last Great Hunt Perth Festival Pre-production 15 mins

4:45pm 4:15pm 2:45pm 6:45am CONCLUSION OF DAY ONE Richard Evans

8/ 9/ SCHEDULE DAY TWO WEDNESDAY 23RD

TIME (AEST) TIME (SA & NT) TIME (WA) TIME (GMT) SESSION PROJECT PERSONNEL FESTIVAL APPLICATION STAGE DURATION

1:00pm 12:30pm 11:00am 3:00am Welcome to Day Two/ Housekeeping Richard Evans/Min Collie-Holmes 15 mins

1:15pm 12:45pm 11:15am 3:15am Brisbane Festival Update/ Welcome Louise Bezzina Brisbane Festival 5 mins

1:20pm 12:50pm 11:20am 3:20am Showcase of SILENCE: BlakDance Brisbane Festival Program 2020 BlakDance 15 mins SESSION FIVE

1:45pm 1:15pm 11:45am 3:45am Pitch Fourteen Introduction by Brisbane Festival

Lisa Wilson/Nathan Sibthorpe/ Bunker Brisbane Festival Pre-production 15 mins Metro Arts

2:00pm 1:30pm 12:00pm 4:00am Pitch Fifteen Introduction by RISING

Big Name, No Blankets Ilbijerri Theatre Company RISING Creative Development 15 mins

2:15pm 1:45pm 12:15pm 4:15am Pitch Sixteen Introduction by Darwin Festival

Value For Money GUTS Dance Darwin Festival Creative Development 15 mins

2:30pm 2:00pm 12:30pm 4:30am Pitch Seventeen Introduction by Ten Days on the Island

Monster Trucks Terrapin Puppet Theatre Ten Days on the Island Seed Funding 15 mins

2:45pm 2:15pm 12:45pm 4:45am BREAK SESSION SIX

3:00pm 2:30pm 1:00pm 5:00am Pitch Eighteen Introduction by Adelaide Festival

Riders in the Chariot Brink Productions Adelaide Festival Creative Development 15 mins

3:15pm 2:45pm 1:15pm 5:15am Pitch Nineteen Introduction by Brisbane Festival

Amataga Casus Circus Brisbane Festival Creative Development 15 mins

3:30pm 3:00pm 1:30pm 5:30am Pitch Twenty Introduction by Adelaide Festival

Set Piece Nat Randall/Anna Breckon Adelaide Festival Pre-production 15 mins

3:45pm 2:15pm 1:45pm 5:45am Pitch Twenty-one Introduction by Auckland Arts Festival

Ross McCormack/The New Zealand As it Stands Auckland Arts Festival Tour Ready 15 mins Dance Company

4:00pm 3:30pm 2:00pm 6:00am BREAK SESSION SEVEN

4:15pm 3:45pm 2:15pm 6:15am Pitch Twenty-two Introduction by Brisbane Festival

RED Dancenorth Brisbane Festival Pre-production 15 mins

4:30pm 4:00pm 2:30pm 6:30am Pitch Twenty-three Introduction by Ten Days on the Island

How we Found what We Had Lost Terrapin Puppet Theatre Ten Days on the Island Pre-production 15 mins

4:45pm 4:15pm 2:45pm 6:45am Pitch Twenty-four Introduction by Perth Festival

And the Earth Will Swallow Them Whole Rachel Arianne Ogle Perth Festival Creative Development 15 mins

5:00pm 4:30pm 3:00pm 7:00am WRAP UP Richard Evans

10/ 11/ STUNT DOUBLE THE FARM

PROJECT PROJECT CREATIVE TEAM/ PRODUCING MFI CRITERIA PARTNERS DESCRIPTION PERFORMERS COMPANY PROFILE Whilst Stunt Double is a social satire bathed For the challenges of using live film techniques ADMINISTERING One person’s talent, used for another The artistic directorship team of The Farm Based on the Gold Coast with roots in Berlin The in 1970’s Australia, it’s underlying examination CAIAF FESTIVAL person’s glory. on stage, and the cinematography demanded consists of five core artists, Kate Harman, Farm have been described as the gateway drug of hierarchies and power structures are both of these action sequences, we have completed Michael Smith, Chloe Ogilvie, Gavin Webber to contemporary dance. That’s because we want current and universal. Brisbane Festival Stunt Double is a social satire of power and fame an intense seed development week with local and Grayson Millwood who work collaboratively to connect to anyone, from dance aficionados to that examines the price paid for the creation of The innovative approach needed to mix live documentary film director Mick Angus and to create original dance theatre works. It is theatre virgins, and to challenge the status quo PARTNER our idols. filming, stunt performance and dance theatre will feature film cinematographer Mark Wareham. important to us that these five voices are about what dance is and who it’s for. CAIAF FESTIVAL/S challenge The Farm to think beyond their own It’s set in the 70’s cinematic world of We will continue to work with and consult them equally present in the direction of Stunt Double TBC Our company is led by a collective of five artform, and open their processes to artists that Ozploitation, the period that brought such during the creative development. because we know that, when speaking to themes artists spanning multiple generations, genders, work in an very different industry. memorable movies as Wake in Fright, Razorback of recognition and hierarchy, collaborators of The Farm has always been interested in stunts, backgrounds, zodiacs and disciplines. We believe OTHER and BMX Bandits. 70’s Australia was a time of different generations, backgrounds and genders With Stunt Double we are aiming to create a the consequences of high impact physicality, the that all animals are equal and everyone we CO-COMMISSIONING change, when the climate debate was starting, will better inform our process. work of a greater scale than usual, to reach a PARTNERS fragility of the human body and the connection collaborate with brings their expertise to the the challenge to gender roles was well underway, mainstream audience not normally associated HOTA that audiences feel when they experience One person’s talent being used for another work, but are not confined to them. Gough Whitlam was being sacked by the Queen with contemporary dance. The success of shows actual risk onstage. For our drive-in thriller person’s glory, may feel familiar to many people, (and the CIA), Elvis was still alive and spandex Different combinations of our core artists and such as Cockfight (which received invitations Throttle (2019) we worked with the AP8 stunt but it is clear that this feeling is compounded OTHER FINANCIAL was a new thing. collaborators have worked on a long list of to comedy festivals and won a Drover’s Award academy and world motocross champion Dan in some bodies more than others. SUPPORTERS successful shows that predates The Farm such as for best touring production) led the company to Designed to be an accessible work that draws a Readon. For Stunt Double we completed our The Farm Lawn, Roadkill (Splinter Group) and Underground be labelled “The gateway drug to dance”, this is crowd beyond the art elite, the popular cultural seed development week with Stunt coordinator ADDITIONAL COLLABORATORS FOR (Dancenorth). More recent achievements include something that we take pride in. We now wish references and biting comedy of Stunt Double Darko Tuskan and are in conversation with many THE CREATIVE DEVELOPMENT the Helpmann award winning TIDE, Cockfight to push this ability to make accessible physical will provide a unique perspective on the way experienced practitioners including Carly Rees, Performers TIMELINE Essie Horn and Taree Sanbury (Drovers Award, Helpmann nominated), Throttle theatre towards a larger scale work. power and privilege operacte. and Yasca and Marco Sinigaglia. (Matilda Award), Frankenstein (PAWA Award), NOV – DEC 2020 Live filming of an action sequence takes place on “They suddenly realized you need a permit to Dramaturgy The Last Blast (Helpmann nominated). Preliminary design conversations Louise Gough PREVIOUS MFI GRANTS stage, and above it is a large screen where the set a car or a trashcan on fire, but you can set a Initial script ideas human on fire with no permit. In a funny sort of sequences are projected. Cinematographer 2020 Source material to inform studio rehearsals way, that’s a perfect analogy for the business.” Mark Wareham Seed Development for Stunt Double Filming of test stunt sequences Through the differing lenses of fiction, Andy Armstrong – Stunt coordinator FUTURE MFI amount granted $10,000 documentary and live theatre, The Farm will Documentary filmmaker POTENTIAL Our company is based on the Gold Coast, in MARCH 2021 explore what is real, what is truth and what the Mick Angus With professional stunt coordination and feature Two-week creative development at HOTA implications are when the truth is edited. the heartland of the Australian stunt world, and BUDGET despite working in a vastly different industry, the Stunt Performer and consultant film quality cinematography, we believe Stunt Budget has been provided. Because we know whoever controls the lens communication that we have had so far has been Carly Rees Double is set to attract an audience well beyond controls the narrative. inspiring, and has made us appreciate how much the traditional dance crowd. Stunt coordinator knowledge, talent and potential collaboration is “After many years as a stunt double for A-list Vasca and Marco Sinigaglia We are looking towards a Brisbane Festival actors, I have first hand experience on the right at our doorstep. premier in 2022 before presenting the work at WHAT THE MFI FUNDING

treatment of female stunt doubles in a male Composition and Sound design HOTA, our home venue. Working together with WILL BE USED FOR Luke Smiles dominated industry. With a movement currently Performing Lines, we will build a touring strategy The MFI Creative Development funding will underway in the screen industry to recognise the Design for 2023 that utilises existing presenter interest allow us to find the ‘heart’ of the show. We will unknown women and men that put their bodies Zoe Atkinson and Tyler Hill in our past work as well as investigating new work with our traditional collaborative processes on the line to make the Hollywood stars look so markets in line with the nature and scale of this and artists of The Farm, include all the elements kick ass, it is time to shine a light on the Stunt new production. that worked well during our seed development Double in all our glorious forms.” – Carly Rees and introduce an outside dramaturg, Louise Gough to the process. Her role will be twofold, she will focus on the script development around certain scenes, and provide an invaluable outside lens to the wider dramaturgical arc.

This creative development will build on a seed funding week completed in August 2020 in which we worked with some of Australia’s most experienced and sought after film and stunt practitioners.

12/ 13/ PATROCLUS BY DAVID MORTON DEAD PUPPET SOCIETY (DPS) AND LEGS ON THE WALL (LOTW)

PROJECT PROJECT CREATIVE TEAM/ PRODUCING MFI CRITERIA PARTNERS DESCRIPTION PERFORMERS COMPANY PROFILE PATROCLUS brings together two leading An unlikely (and under told) classical love story, Writer and Director Australian performing arts companies to reshape ADMINISTERING DEAD PUPPET SOCIETY 2017 and will tour nationally in 2019/20 to , set against the epic violence of the Trojan David Morton and reclaim the queer story of two central CAIAF FESTIVAL Focussed on the creation of large-scale visual Arts Centre Melbourne, Queensland Performing War, PATROCLUS is a refreshing reimagining characters of Homer’s Iliad. This collaboration Brisbane Festival Director of Movement theatre works, Dead Puppet Society has been Arts Centre and for of one of the ancient world’s best- known will feature the heightened physicality of Legs Joshua Thomson (Legs On The Wall) operating for ten years and has received Sydney Festival, and internationally in 2020 to heroes, and his not so well-known lover, to on the Wall combined with the visual mastery PARTNER numerous awards and accolades, including six South Bank Centre in London and Edinburgh reclaim the queer aspects of the mythology. Composer and contemporary use of puppetry from Dead CAIAF FESTIVAL/S Helpmann Award nominations and an Olivier Children’s Festival. For Co-Producers DPS and LOTW this project Puppet Society to create a work of scale which Sydney Festival (TBC) Montaigne, Chris Bear (Grizzly Bear) Award nomination. After undertaking several deadpuppetsociety.com.au will take audiences to breathtaking new worlds. is important and relevant for several reasons. and Tony Buchen development programs and short seasons In an increasingly divided world, the work will Pairing Justin Harrison’s visually exquisite Creative Producers with Metro Arts, and Brisbane OTHER appeal for compassionate leadership and the LEGS ON THE WALL projection design with Montaigne, Chris Bear Nicholas Paine and Cecily Hardy Festival, our unique take on puppetry was CO-COMMISSIONING service of others. As a concept, and from our Legs On The Wall (Legs) has a 35-year story and Tony Buchen’s internationally renowned PARTNERS solidified at La Boite Theatre Company in 2011 defined by daring, awe, heart and calculated and award-winning composition will further research, this sort of contemporary retelling of Puppetry with THE HARBINGER, which moved from the QPAC (TBC), Glass Half Full risk. Their successes see have made them ensure the audience is immersed in this epic and classical material is in demand and has a wide Dead Puppet Society Indie program to Mainstage in 2012 and toured Productions appeal due to both audience familiarity and Australia’s leading physical theatre company reimagined story. Design nationally in 2014 in co-production with Critical a resurgence of interest in classical literature. with global renown. Legs artists craft stories TBC Stages. The slow development and multiple Dead Puppet Society is committed to providing Most importantly though, for us PATROCLUS is through inimitable teaming of dance, theatre, OTHER FINANCIAL iterations of this project gave us a strong opportunities to and collaborating with SUPPORTERS about diverse representation. We believe that circus, sport, street arts, music, film, spectacle, Costume Designer understanding of producing large-scale work. Australian artists working in visual theatre Queensland University painting the portrait of the queer heroes at the experimental, installation, and other art forms. TBC In 2013 we premiered ARGUS at the Brisbane forms. After 34 years Legs on the Wall remains of Technology, heart of one of mythology’s most well-known Working with Australia’s best physical and non- Dramaturg Powerhouse. This production highlighted our a thriving heart of physical theatre in Australia. Australia Council for the Arts tales has the potential to voice the narrative of physical artists, and international collaborators, Louise Gough innovative approach to the form and received Legs is known nationally and internationally individuals who make enormous contributions to with a mandate to support and promote first a grant from the Jim Henson Foundation for for their exuberance, innovation and extreme their societies but still must fight for acceptance nations artists the world over. With more than Projection Designer contemporary use of puppetry. A national tour physical skill – telling stories with depth and visibility. To amplify this intention, diversity 700,000 people having experienced Legs’ TIMELINE Justin Harrison took place in 2015, visiting five states, with and intelligence. work first hand, their work appeals to a broad of artistic leadership on this work is paramount. presenters including , 2021 Sound Designer audience across barriers of language, socio- PATROCLUS will make use of a wide variety of Additionally, the intention for the final work is Come Out Children’s Festival, Darwin Festival, Development Tony Brumpton economic status, and more. forms. It will blend stage combat with aerial-work to build an ensemble of diverse performers who and others throughout regional Victoria and and integrate human performers and puppets will double through multiple roles, often blurring Lighting Designer Queensland. In 2016 and 2017 ARGUS was Since the appointment of Joshua Thomson as JUN – AUG 2022 within digital environments — creating a versatile previously defined gender roles traditionally TBC presented at the Kravis Center in Florida and Artistic Director in 2018, Legs has flourished Pre-Production associated with these mythological characters. and ambitious work of scale. Cast at the Lincoln Center in New York City. with a renewed focus on telling relevant and By integrating human performers and puppets powerful stories with physical metaphor. SEP 2022 TBC For the past five years, the Society has been within digital environments, and shifting planes Interactive intergenerational trampoline work PREVIOUS MFI GRANTS Opening Season developing strong international partnerships, as the work incorporates stage combat and aerial HIGHLY SPRUNG was experienced by over physicality, we will create a versatile theatrical particularly across the United States and the Creative Development – PATROCLUS JAN 2023 9000 people in suburban Australia (Sydney palette. One capable of staging a story of mythic United Kingdom. The need to build these arose Second Season FUTURE Festival, Bleach festival, Art and About), and in 2013 when we worked with Handspring proportions and continuing the multi-disciplinary POTENTIAL remote Australia (Karratha’s Red Earth Arts BUDGET Puppet Company as a JUMP Mentorship. Their TBC experimentation with form that is a hallmark Festival), as well as internationally (Santiago a NA advice was that a sustainable practice relied on Budget has been provided. Third Season of Dead Puppet Society and Legs On The Mil). 2018/2019 saw Indigenous led aerial work building an international career. In beginning this Wall’s work. Man With The Iron Neck (MWTIN) premiere for process, we secured an eight-month residency Brisbane, Sydney, Adelaide and Darwin major at St. Ann’s Warehouse in NYC to develop THE arts Festivals in Australia, receiving exceptional WIDER EARTH. In 2016 we co-produced the fully reviews and standing ovations. Above all, Legs realised production with Queensland Theatre. are determined to tell transformative and The work then enjoyed a sold out season at empowering stories in forms that will thrill and Sydney Opera House for Sydney Festival and resonate with audiences. a five month commercial season at the Natural History Museum in London. DPS also has a legsonthewall.com.au strong relationship with the New Victory Theater in NYC who hosted us in residence for two years and were our primary development partner for LASER BEAK MAN. The production had its world premiere with Brisbane Festival and La Boite in

14/ 15/ TALES FROM THE INNER CITY BARKING GECKO THEATRE COMPANY

PROJECT PROJECT CREATIVE TEAM/ PRODUCING MFI CRITERIA PARTNERS DESCRIPTION PERFORMERS COMPANY PROFILE Tales from the Inner City is a large-scale work SATELLITE’ PERFORMANCES ADMINISTERING Tales from the Inner City, the most recent work Author Barking Gecko Theatre is a leading professional of considerable ambition. It is a bold adaptation CAIAF FESTIVAL from master storyteller Shaun Tan, was born Audiences venture into the city to discover Shaun Tan theatre company based in Western Australia of Tan’s original work that pushes the boundaries from a question: What would happen if animals three-five different immersive, site specific led by Artistic Director, Luke Kerridge. Barking of what theatre can be and how we tell stories Perth Festival Director lived in places that were normally reserved only performances. These would be longer Gecko produces exquisitely crafted theatre that to young audiences. As the generation that are Luke Kerridge for human beings? The result is an extraordinary (approx.10-15 min) crafted theatrical experiences inspires audiences to imagine the world anew. arguably most actively concerned about climate PARTNER that are adaptations of the more narrative-based change, this is a meditative, sophisticated work CAIAF FESTIVAL/S collection of poetry, prose and artworks Designer Barking Gecko Theatre’s productions speak to fashioned into 25 short stories that are exquisite, stories from the book. For example, in a museum children in the here and now – to their inner lives that meets young audiences with the respect TBC Jonathon Oxlade surreal, haunting, and befitting of the strange an evolutionary biologist awaits to share her and the experience of growing up in a complex they deserve. It is also a work of broad appeal: Composer times we now find ourselves in. Crocodiles live strange and magical presentation about a species world. The theatre we create is as rich, layered Shaun Tan’s work defies categorisation and Alex Somers (international, unconfirmed) OTHER on the 87th floor of a high rise. Bears are taking of Lungfish that evolved faster than the human and vibrant as the experience of childhood itself. crosses generations. Composer Alex Somers CO-COMMISSIONING the human race to court. A baby orca is put into race. In a courthouse, a group of bears are taking Production & Logistics Consultant Our investment in the creation of new theatrical (best known for his collaborations with Jonsi PARTNERS the sky but no one knows how to get it down the human race to court. Outside a bank, a man Drew Dymond experiences is rigorous; we push boundaries, from Sigur Ros) is internationally renowned for City of Perth, Department again. It cries endlessly for its mother. feeding pigeons tells the story of a fantastical reimagine timeless themes and amplify the his ethereal soundscapes and creates music of Playwrights skilled at crafting work for of Local Government Sport skyscraper hovering in the sky that challenges child’s world-view. unabashed beauty, the perfect underscore for Utilising the city as a canvas and a stage, Barking & Creative Industries (TBC) ideas of wealth. families such as Kate Mulvany and Dan Tan’s surreal worlds and distinctive aesthetic. Gecko Theatre’s adaptation of Tales from the Giovannoni will be engaged to adapt the In recent years, Barking Gecko Theatre Company Inner City will translate the elegance and dream- JOURNEY narrative-driven ‘Satellite’ pieces. has consistently demonstrated is adeptness to Over the years Barking Gecko has had the OTHER FINANCIAL like quality of Tan’s stories into a live experience Connecting the ‘Headquarters’ and ‘Satellites’ collaborate with organisations and Australia’s privilege to adapt other iconic works by Shaun SUPPORTERS There will be a cast of diverse performers, for children and families that will explode to life will be a series of ephemeral visual art works that leading theatre artists to deliver exceptional Tan: The Red Tree, an intimate in-theatre N/A including children. It may be possible for across the city. It is imagined in three ‘modules’: act as ‘breadcrumbs’ for the audience to follow. productions that are accessible to families, as experience, and The Rabbits, a multi-award the cast to shift from city to city to engage For example, a series of beautifully illustrated well as lovers of finely crafted theatre. winning new opera for children and families local performers. HEADQUARTERS posters about a missing cat plaster the streets co-produced with , only made TIMELINE We are honoured to create our work on A series of rooms constructed in an existing and projections of horses dance across city possible through the support of the MFI. Tales Whadjuk country, the ancestral lands of the space, or perhaps purpose built. Each room is buildings, haunting the city they once helped from the Inner City is the next bold work Barking APR 2021 Noongar people. an instillation inspired by a different story from Gecko will undertake, conceived to speak our Part 1: Concept development/ build. These works will transform the city and the book. The audience travel from room to times and the cities our major festivals reside in. Confirmation of story selections and form be enjoyed by the general public, whilst holding room, each one giving way to a new reality by (1 week) secret meaning for audiences on the larger shifting artistic form, perspective and scale. For journey of the work. PREVIOUS MFI GRANTS JUN 2021 example, in one room audiences listen to a story FUTURE Cumulatively, Tales from the Inner City will be an Part 2: Build and Test HQ rooms inc. about giant snails as they watch real-life snails POTENTIAL 2015: Perth International Arts Festival and experiential collage, with the engagements linked Composer, LX and Digital (2 weeks) crawl through a miniature city. In another room Melbourne Festival: $203,912 made entirely of fur, audiences are invited to on emotional and intuitive levels. For clarity, the Tales from the Inner City is a new Australian work that will take over a city through a series of intimate 2016: Perth Festival: $6,320 DEC 2021 nestle in as they hear the strange tale of some work avoids anthropomorphised creatures. and epic installations, site specific performances and ephemeral encounters. tired factory workers awaiting the arrival of a 2018: Perth Festival, Melbourne Festival and Part 3: Script Development A captivating and magical experience for Modular in conception, it is envisioned the work will be made up of transferrable parts that could be great yak. In another, a wall of intricate masks Sydney Festival: $139,354 (Satellite Site specific locations) (2 weeks) children and families, at its core, Tales from the tailored to each city it tours. The central space, or ‘Headquarters,’ is a series of instillations in various reveal the subtle teachings of a predatory tiger. Inner City poses urgent questions about our rooms that could be built into an existing space or purpose built. ‘Satellite’ performances are immersive, MAR 2022 An ethereal soundscape is tailored to each room, relationship with the natural world. This is a work site-specific mini-plays that would take place in buildings common to every city – e.g. a museum, a court BUDGET Part 4: Creative Development Perth: with stories communicated in different ways - that challenges established power structures and house, a town hall. Connecting the ‘Headquarters’ and ‘Satellite Performances’ are a series of visual Creative Team and Performers (2 weeks) via audio, performers, text, and rich, resonant Budget has been provided. our assumed dominion over our environment. works that will use the city as a canvas. imagery. Once audiences have travelled through It is an act of imagining, that posits our shared As a city takeover, Tales from the Inner City would ideally run for a minimum of three to five days across the rooms at ‘’headquarters’ they receive a map future is a choice (rather than an inevitability) a Festival. It is imagined the full work would take around 75 minutes to experience, but it would be that directs them to encounters in the city. that depends upon our ability to imagine other possible to attend just some of the ‘modules’. Part of the creative development process will be to plot lives and realities. As an act of re-imagining our the audience’s pathway and determine the full experience. This is a work for family audiences to enjoy in city it is, ultimately, a work of hope. the afternoon/early evening and also has potential for schools audiences.

16/ 17/ GUTTERED RESTLESS DANCE THEATRE

PROJECT PROJECT CREATIVE TEAM/ PRODUCTION OVERVIEW MFI CRITERIA PARTNERS DESCRIPTION PERFORMERS The work is set in an active bowling alley. There “Dance Theatre that engages by its simplicity and moves by its emotional intensity.” The Australian ADMINISTERING Guttered explores the notion of being a winner THE EXPERIENCE Director are no major set elements. Being a site specific or a loser within the context of ten pin bowling Michelle Ryan work the team will reconfigure the work to a new CAIAF FESTIVAL The audience arrive, put on their bowling shoes Restless has made a name for itself, presenting and reunites the award-winning creative team venue. Restless requires 10 lanes and access to Adelaide Festival and are guided to sit in the classic bowling Assistant Director innovative, works of scale that showcase the from Intimate Space. Set in a classic bowling the sound and audio visual systems. Bespoke alley booths. In the beginning the audience Josephine Fitzgerald Restless dancers’ unique personalities in alley, with the mesmerising sights and sounds, lighting will be developed during pre production PARTNER may not know who is a performer and who unusual spaces. Over the last five years we have the audience will be immersed in the competitive Music Soundscape to enable to the work to be presented in CAIAF FESTIVAL/S is an audience member. The performers will presented major works in festival contexts. and social interaction of a game. With a similar Jason Sweeney different venues. Brisbane Festival and TBC slowly reveal themselves. Sitting in amongst the attention to detail as Intimate Space the work action the audience will be privy to intimate Lighting Designer For the premiere season the work will be RECENT PRODUCTIONS will challenge audiences’ prejudices while making exchanges and bowled over by boisterous Geoff Cobham presented in the Woodville Zone Bowling 2020 Seeing Through Darkness OTHER them laugh and cry. physical action. Dancers will slide and move four-week season Art Gallery of SA CO-COMMISSIONING Alley’s event space ‘The Sliders Room’. along the lanes and take up the challenge to win Designer PARTNERS 2019 Intimate Space FROM MICHELLE RYAN at any cost. Each dancer will be vying for the Meg Wilson N/A ARTISTIC DIRECTOR Seoul Street Arts Festival attention of the audience. The audience will not OF RESTLESS DANCE THEATRE Technology Developer PRODUCING Why don’t we allow people with disability only be able to score their game but also their 2019 Zizanie by Meryl Tankard OTHER FINANCIAL Heidi Angove COMPANY PROFILE to have the dignity of risk? Disability Service relationships. Exposing the dignity of risk, the Adelaide Festival SUPPORTERS dancers will, at times, be denied the opportunity Assistant Director Providers often program bowling into daily living Restless Dance Theatre is Australia’s leading 2018 Creating the Spectacle Arts – Richard to succeed. At other times the audience will Larissa McGowan programs however guards on the sides of the dance theatre company working with artists Llewellyn Fund And City Of be transported away from the bowling alley to lanes restrict failure. Failure is a key motivation Dancers with and without disability. Our artistic voice Adelaide And Banksa Foundation witness emotional relationships between these to develop and learn. Kathryn Adams, Chris Dyke, Jianna Georgiou, is loud, strong and original. Restless invigorates, 2018 Intimate Space And James And Diana Ramsay enigmatic performers. Michael Hodyl, Alexis Luke, Michael Noble, influences and diversifies dance by creating Bleach* Festival 2018 Commonwealth Games A bowling alley is such a theatrical setting, the Foundation Charlie Wilkins innovative and highly distinctive works of dance Arts and Culture Festival noise of the pins falling, the smell of the oil from With many duets, ranging from exuberant free-for-alls to tender and at times almost theatre. Restless is a place where diversity the hot chips, the classic bowling shirts and Creative Producer 2017 Intimate Space unbearably beautiful, the work will allow the is celebrated and all artists thrive creatively. TIMELINE shoes and the raucous interaction of the bowlers, Roz Hervey Adelaide Festival it is almost a sensory overload. I can’t wait to audience to uncover the very personal stories restlessdance.org of the performers with disability. 2016 In the Balance JUL – DEC 2020 share the dancers intimate stories of winning and Adelaide Cabaret Festival Development (4 Weeks In Total) losing in this intimate but public context. FUTURE We are the only Australian dance company JAN 25 – FEB 25 POTENTIAL presenting work professionally with artists with Pre-Production NA and without disability. Guttered further develops the presentation of work in non-traditional FEB – MAR 2021 venues which Michelle explored so successfully Opening Season – Adelaide Festival in her work: Intimate Space which was set in a working hotel. The unusual venue can help SEP 2021 audiences sidestep their own prejudices and Second Season – Brisbane Festival see the performers as what they are: dancers performing exceptional work – who happen LATER 2021 to have a disability. Our work is unique. The Third Season – Possible Restless presentation individuality of the Restless artists is a major TBC strength of the company. The dancers do not fit the stereotypical dancer image but it is in their difference that audiences see their beauty and creativity.

PREVIOUS MFI GRANTS Seed – Zizanie

BUDGET Budget has been provided.

18/ 19/ THE INVISIBLE OPERA AUSPICIOUS ARTS PROJECTS INC.

PROJECT PROJECT CREATIVE TEAM/ Dramaturgy; Direction FUTURE MFI CRITERIA PARTNERS DESCRIPTION PERFORMERS Lara Thoms (Aus) POTENTIAL Co-created by two of Australia’s leading Lara Thoms as an Australian director, The Invisible Opera is a contemporary music Writer; Music Direction; Performer The Invisible Opera is a current new work contemporary artists working in performance, ADMINISTERING performance-maker and performer interested in CAIAF FESTIVAL theatre work for public space. Sophia Brous (Aus) in-residence at the Brooklyn Academy of Music who have produced work of distinctive socially engaged, site-specific and participatory (BAM), New York. Several phases of creative impact, quality and vision across artforms RISING (Melbourne International Presented as a 60-minute performance Sophia Brous is a cross-disciplinary musician, possibilities in contemporary art. Her work has developments have been undertaken at the and discipline in Australia and internationally. Arts Festival) intervention in a central square of a city composer and performance-maker. She creates been presented with the Theatrespektakle and BAM Fisher Theatre since 2019, and discussions Sophia Brous and Lara Thoms experience centre, The Invisible Opera is a surreal new, commissioned collaborative works and Nooderzen festivals (for which she won the ZKB are underway for presentation in the 2021/2022 spans music, performance, public participation, examination of the dynamics of private interest performances with companies, festivals and Patronage Prize and the ZKB Audience Prize PARTNER seasons, subject to covid measures. and site-specific performance, and together CAIAF FESTIVAL/S in our shared public environment. Unfolding as artists internationally. Brous was 2016-2018 2019 for We All Know What’s Happening), Sydney with the exceptional US choreographer and a cinematic observation of the behaviours and resident artist at National Sawdust, New York Additional development partners have included N/A Opera House, SICK! and ANTI festivals, PIAF, performance-maker Faye Driscoll, The Invisible patterns of everyday life, a bustling metropolis and twice resident artist at The Watermill The Watermill Center New York (Sophia Melbourne Festival, The Malthouse, Next Wave Opera represents a distinctive opportunity for gradually gives way to mass spectacle, as Center, New York. She was 2019 finalist of the Brous solo residency, January 2020) and Arts OTHER CO-COMMISSIONING festival, the MCA, Performance Space, Radial collaboration between three highly respected forces of city surveillance, hostile architecture, Melbourne Prize for Music and recipient of Centre Melbourne. PARTNERS System v Berlin, as well as many venues and female-identifying artists. laws of assembly and creative activation the inaugeral Creative Victoria Creator’s Fund institutions. She is current co-Artistic Director of Brooklyn Academy of Music (BAM), Current discussions with potential future begin to choreograph the space like a kind and the World Tour Scholarship of the Berklee Aphids, was a curator/ producer for Dark Mofo The creation of a dynamic, site specific outdoor New York – ‘work in-residence’, presenters include Manchester International of invisible theatre. School of Music. Brous is Artistic Associate Festival and works as an artist with Field Theory. work of scale has been carefully considered in project partner, future presenter Festival/The Factory; Manchester UK; Komische of the Arts Centre Melbourne where she relation to the potential restrictions that may Utilising immersive sound design, electroacoustic Opera, Berlin; Operadagen Rotterdam; and founded Supersense; Festival of the Ecstatic Choreographer be in place due to COVID-19. The work’s design orchestration, vocal performance, Faye Driscoll (USA) Holland Festival. NURA Headphones – (in-kind) and is current Curator at Large of Pioneer utilises technology that will allow audiences choreography and large-scale scenic design, Works, New York. Recent touring projects and Faye Driscoll is a Bessie award-winning This work has been designed for touring. The to use their own handsets and headphones, the work is a mesmeric examination of what we Arts Centre Melbourne – in-kind commissions include Dream Machine (2021 The choreographer and director whose work is touring party will be limited to three to five whilst the outdoor location will enable a group see and do not see in our public environment. rehearsal venue for rehearsals Barbican, Todays Art Den Haag, Red Bull Music rooted in an obsession with the problem of being pax, and the work will have a large local impact participation in a socially distanced context, and It catalogues a taxonomy of our public Festival, Scopitone Festival); Mount Analogue “somebody” in a world of other “somebodies” tailored to each city site-specifically. The key the ability for additional hygiene protocols for environment, and reveals how private interests (2021 Ultima Festival/Oslo Opera House/ and all of the conflicts and comedy born in our artists will work with a local performance audiences and performers to be enacted. This OTHER FINANCIAL of real estate, big data, tourism and city planning SUPPORTERS Norwegian Arts Council); When The World’s On interactions with others. Driscoll’s work has ensemble and design the show and text for ensures the work can be safely presented over shape our collective behaviour. Australia Council of the Arts Fire (The Kennedy Center Washington/Direct been commissioned by Walker Art Center, New each site uniquely. the coming years. Created by cross-disciplinary performance- Current) with Marc Ribot; song cycle Lullaby 2020 creative development Museum, Wexner Center for the Arts, Institute With a highly flexible presentation mode, it also makers Sophia Brous, Lara Thoms and Faye Movement (2019 Operadagen Rotterdam, 2021 for Contemporary Art/Boston, Danspace offers presenters the ability to attract a large Driscoll (USA), the work operates at the Southbank Centre London); and New York PRODUCING Brooklyn Academy of Music (BAM) Project, HERE Arts Center, The Kitchen, Dance audience over multiple performances within the threshold of contemporary music theatre and large ensemble EXO-TECH, with David Byrne, COMPANY PROFILE 2020 creative development Theater Workshop, American Dance Festival, same night. public intervention. Site specific and unique to Kimbra, Colin Stetson, Questlove, Sean Lennon Fusebox Festival, UCLA, CounterPULSE, and Auspicious Arts will auspice the creative each new city, it responds directly to landscape and Yuka Honda Other engagements include Conceived and led by artists based in Melbourne Arts Centre Melbourne The Yard. Driscoll has collaborated with theater development funds for Sophia and Lara. They and community, and exists easily as a COVID the world premiere of Music and Poetry of the and performance artists including Young Jean and New York, the work seeks to reimagine our Early phase creative development will manage artist contracts and payment of fees, Safe, socially distanced work for performers Kesh by Ursula K Le Guin; In Dreams: David Lee, Cynthia Hopkins, Taylor Mac, Jennifer wages, on costs and insurances. familiar city-scapes and encourage audiences and audience. Lynch Revisited for The Barbican London, Paris Miller, and the National Theater of the United to connect with their cities, and with each In addition, Independent Producer, Freya Philharmonie; Hallucinations for DOCUMENTA States of America. She received a Guggenheim other, in new ways. The Invisible Opera will TIMELINE Performed as a back-to-back performance Waterson will provide project and budget Athens 2017, The Arthur Russell Retrospective Memorial Fellowship, Creative Capital and was be highly responsive to each city it is presented cycle in which each new audience inadvertently oversight and manage liaison between the Concert for the Brooklyn Academy of Music; 200 Artist-in-Residence at Baryshnikov Arts Center, in; altered and inspired by each new site and FEB – MAR 2021 become performers for the next audience’s MFI, Festivals and the Artists. Motels by Frank Zappa, with the BBC Concert Park Avenue Armory and Mass Live Arts (2015). presentation context. Remote pre-production – creative team/ viewing, the work can be presented for up to Orchestra, for Southbank Center/Rest is Noise She received her B.F.A. from Tisch School of the contractors six audiences across an evening and operate Situated somewhere between staged Festival); and Gorgon (National Sawdust). Arts at New York University. She most recently simultaneously as a ticketed work and public performance, music theatre, participative premiered the third part to her celebrated MAR 1 –5 2021 intervention. Using dynamic audio technology, choreography, public art and public spectacle, trilogy Thank You For Coming: Space. Technical design development – sound, prop and production design integrating existing city The Invisible Opera is designed as a site specific, scenic design testing architecture, and instructional participation participatory, contemporary performance (via the audiences’ mobile phones and own experience that will deliver impact and quality MAR 8-12 2021 headsets), the work ultimately leads the for audiences. Ensemble rehearsals audience into becoming complicit in the public MAR 12-14 2021 spectacle, only for it to start all over again. PREVIOUS MFI GRANTS Work in progress performances; documentation N/A

BUDGET Budget has been provided. 20/ 21/ AEON DAGGER INSITE ARTS INTERNATIONAL

PROJECT PROJECT SEEDS OF THE WORK CREATIVE TEAM/ PRODUCING MFI CRITERIA PARTNERS DESCRIPTION • Unseen worlds beyond our knowing PERFORMERS COMPANY PROFILE In our opinion Justin Shoulder is one of AEON† by Justin Shoulder and perception. Lead Artist, Performer and Co-Designer Australia’s most innovative and exciting multi- ADMINISTERING INSITE ARTS Justin Shoulder disciplinary artists, recognised locally, nationally CAIAF FESTIVAL AEON† is an in-theatre work for Playhouse size • Drawing from Mythos of Ancestral Insite Arts is an experienced team of creative and internationally for his solo practice as a Rising Festival theatres or larger studio spaces Filipnx and Queer Lineage to Imagine Mentor, Co-Choreographer and Performer producers and arts professionals working in visual artist, as a performance artist and as an a Filipinx Futurism. Victoria Hunt Australia and internationally to create and Fusing Filipinx myth, puppetry and queer artist who openly and actively engages with PARTNER produce arts events of high impact and calibre. pageantry as ceremony, AEON† is a work • Interspecies communication/kinship: how Costume & Set Design community events. CAIAF FESTIVAL/S Based in Adelaide with offices in Melbourne and imagined by acclaimed Sydney artist Justin to listen to the environment? Matthew Stegh Sydney Festival Hobart, Insite Arts is a full service producing and Justin’s work diversifies and re-imagines Shoulder. AEON† births a hypnotic ecology • Spaces for dreaming/becoming: offer Composer production company specialising in the delivery performative narratives, bringing forward ideas of beings that emerge from the muck of a possibilities of alternate futures and Corin Ileto of arts events of all scales. that demand exploration. Queer and trans- OTHER decomposing parallel world. alternative ways of being beyond what cultural mythologies combine with innovative CO-COMMISSIONING Producers The directors of Insite Arts have a long and PARTNERS Aeon—meaning a vital force, or an indefinite we are experiencing now. performance in public spaces, ensuring these Jason Cross/ Insite Arts diverse history of curating programs, producing N/A period of time—bears tension with †(dagger): important stories find new audiences and • Bodies and beings that resist categorisation. events and developing cultural tourism the symbol placed beside the name of a species Costume and Set Design Assistants communities. experiences – they are experts in place making indicating it has become extinct. The world • Flora/Fauna Responses to threat: Anthony Aitch, Luna Aquatica, Leo Borrero OTHER FINANCIAL and community engagement and they are AEON† is a significant and important project of AEON† speculates a realm between the Aposematism, startle displays, mimcry SUPPORTERS supported by a staff of experienced producers for Justin and his associated collaborators infinite and the definite. The performance space and sonic responses. Justin Shoulder and production managers. Prior to coming especially Matthew, Corin and Victoria. The work becomes a fertile petri dish incubating distinct • Quick Change Costumes, Masquerade, FUTURE together they held senior positions in the will be designed for larger spaces and creates and recombinant organisms. Drag and Pageantry languages offer POTENTIAL following cultural organisations: new opportunities for sets or costumes to be TIMELINE With an extraordinary team of collaborators modes of display in parallel to Flora/Fauna designed and made to “fit this scale” and how Justins’s performance work – including Arts Projects Australia, Womadelaide, Brisbane including Corin (music composition) Matthew Startle Displays (aposematism) larger they come to life. JUL 2020 THE RIVER EATS, CARRION (the show and Festival, Brisbane Powerhouse, Federation Stegh (co-designer) and Victoria Hunt (mentor scale dynamic and transformational set Justin Shoulder (Director/Performer) Episode 1) have been performed nationally Square, Come Out Festival, Melbourne Fringe, MFI provides an opportunity for the artists to and collaborator), AEON† invites us to cross and costumes and other performers on and Matthew Stegh (Design) working on and internationally. Australian Performing Arts Market, Edinburgh practice with “some” continuity which will allow time, from the origins of life to glimpses beyond stage with Justin to articulate the sets development of visual treatment and designs and costumes. Film Festival, St Kilda Festival, 2008 ASSITEJ the team to work collaboratively and build its end. In 2018 and 2019 CARRION – Episode 1 for AEON DAGGER World Congress and Festival, Cultural Program the work together (across the rehearsal room was presented at Fusebox Festival (USA), The work extends on Justin’s Phasmahammer, In October Justin’s will present an episode for the Melbourne 2006 Commonwealth and workshop). Making of Selected Set/Costumes Pieces Neon Lights Festival (Singapore), Palais de an eco-cosmology of alter personas based on (extract) of the work as part of the Liveworks Games, Cultural Program for the 2007 World Tokyo (France) and CARRION – the show Justin and Matthew Stegh have a working Justin Shoulder working with Corin Ileto queered ancestral myth. Creatures birthed at Carriageworks. The works forms part of the Swimming Championships. was presented by Kampnagel Internationale studio and workshop in Sydney where all the (Composer) and Victoria Hunt (Rehearsal are embodied through hand crafted costumes development of the larger scale work. Future Kulturfabrik (Germany), Fierce Festival (UK) and Insite Arts offers services for a wide range of sets, objects amd costumes are made with the Director) and prosthesis and animated by their own and committed commissioning partners to Montreal arts interculturels (Canada) arts industry, corporate and government clients support of other makers. gestural languages. this work include Liveworks (Performance Space) Fusebox Festival (Austin Texas), Fierce including programming, strategic planning, AUG 2020 In 2019 Justin completed residencies at EMPAC Free falling they recall the past in order Festival (Birmingham, UK) and Montréal, arts creative management, and the delivery of Making of Selected Set/Costumes Pieces (USA), Walker Arts Centre (USA) and Battersea PREVIOUS MFI GRANTS to imagine a future of infinite-love- interculturels (MAI, Canada). large-scale festivals and events. Insite Arts Arts Centre (UK). Justin and Victoria working with performers possibility. Rhincodon cruise through oceanic works regularly for significant clients such as the N/A This development was supported by Create and completed set pieces/objects and malls, Bakunawa ride countercurrents all the way Justin’s work appeals to a wide audience and can Museum of Old and New Art (MONA) in Hobart NSW and City of Sydney. costumes to the Skyscraper: Jaws of the Horizon aka The be presented in diverse programming contexts. as the Event Producer for the annual festival BUDGET Edge. Future life forms abound vertically in the Given the larger scale of the work and theatre MONA FOMA (Festival of Music and Art). SEP 2020 great continual unfolding… Budget has been provided. (spaces) it could be presented in we envisage Insite Arts support a diverse group of Justin and Victoria working with performers that with larger audiences the work will open and set pieces independent artists and companies across South up new possibilities. Australia, Victoria and and Preparation for Site Development Showing Tasmania including Justin Shoulder.

insitearts.com.au

22/ 23/ THE PHOTO BOX EMMA BEECH, BRINK PRODUCTIONS AND VITALSTATISTIX

PROJECT PROJECT CREATIVE TEAM/ FUTURE PARTNERS DESCRIPTION ARTIST STATEMENT PERFORMERS POTENTIAL “In September 2019, my mum and dad delivered In 2019 artist Emma Beech was gifted a box Griffin Theatre, NSW, has expressed an interest in ADMINISTERING me a box of photos. Being one of nine children, CREATOR AND PERFORMER OTHER KEY CREATIVE ROLES of family photographs by her elderly parents, FOR THE PHOTO BOX INCLUDE: the work for 2022. Tessa Leong, Griffin’s Associate CAIAF FESTIVAL naturally we had a lot of old-school printed EMMA BEECH a not uncommon experience for middle-aged Creative Development Dramaturgy, Artistic Artistic Director, is a long-term collaborator of Adelaide Festival photos in a massive box in the linen press. My Emma started making shows for her mum in adults. What is less common is that Beech is Support and Co-conceiver Emma Beech’s and she may contribute to the parents, now in their early 80s, and with me as her bedroom when she was six. Since then, she the youngest of nine children, from a family who has graduated from Flinders Drama Centre, Chris Drummond artistic development of the work. PARTNER their youngest child heading into her 40s, in have been central to the life of a regional South worked in theatre, screen and developed a CAIAF FESTIVAL/S very practical form, decided to get those photos Listeners Australian town. practice developing theatre shows from intimate TBC sorted and create a box for each child. It’s not A team of listeners who are supporting the PRODUCING conversations with other humans, from strangers This box of fleeting moments in time, soon a huge box, but it’s big enough. initial content edit for the work – what stories to her dad. The best of these moments Emma COMPANY PROFILE revealed itself as a kind of balm, releasing in work, how are they heard, do they connect to OTHER It’s not that my family is special. It is rather large, collects together to make a show, and she is Brink Productions and Vitalstatistix, small- CO-COMMISSIONING Beech half-memories, sudden recollections the photos? Listeners include Anne Thompson, yes, but not special. What it is, however, is full of constantly seeking to replicate the joy and art of PARTNERS and a profound curiosity for unravelling Valerie Berry, Tim Overton, Stephen Sheehan, to-medium performance companies in South stories I never really knew the truth about. There a great conversation on stage. Her work is often Brink Productions, Vitalstatistix, unsentimental truths about how we all grow Chris Drummond and Yasmin Gurreeboo. Australia, and their artistic leaders Chris are many family myths, moved down from person direct address, and montages stories, gestures Griffin Theatre from childhood to adulthood. Drummond (Artistic Director, Brink) and Emma to person, but the truth itself is not really known. and physical narratives that are collected from Cinematic Co-Director/Writer Webb (Director, Vitals), have long-term professional Well known for making compelling theatrical interviews, conversations, confessions and Craig Behenna My mum holding me in her arms as her relationships with the artist, Emma Beech. OTHER FINANCIAL portraits of real-life characters through deep observations with imaginings of everything accidental baby #9 is one example of so many Documenter/filmmaker The two companies are committed to working SUPPORTERS conversations with other people, The Photo Box in between. – and the questions and doubts I raised for her Shalom Almond Brink Productions, Vitalstatistix sees Beech turn her docu-drama lens on herself, together to co-produce The Photo Box, providing are the roots of a wider personal, social and Emma works with collaborators that include in a work that, from the deeply personal, draws Set and Costume Designer cash investment, artistic and administrative political story, like so many others embedded installation-theatre companies Carte Blanche, us into the truly universal. Renate Henschke support, production and venue support, and TIMELINE in these photos. Group 38 and August and September, in other contributions. This exciting partnership The Photo Box by Emma Beech will be a Denmark, and Patch Theatre, The Rabble, Composer/Sound Designer Ok, so that story of my conception is quite a will be the first time that Brink and Vitals have surprising, heartfelt story-telling experience Arts House, Open Space Contemporary Arts, Jason Sweeney 2020 serious story; there are also other joyful ones, collaborated on a new work. Already it has become Research/mapping the work – think performance lecture meets cinematic State Theatre Company of South Australia and a very rich, generous and fruitful process between funny ones, secret ones with secret people, Lighting Designer Currently underway; installation – about family, choice, myth-making Vitalstatistix, in Australia. She is a founding the companies. political ones, scary ones, and life-changing ones. Chris Petridis Will include The Listening Hour with Emma and memory. member of the Australian Bureau of Worthiness, I want to uncover them all, now, for real, with brinkproductions.com Beech for two nights at Rumpus on 1st and 2nd through which she creates residency-made Co-director or rehearsal director for final stage/s something resembling the truth. vitalstatistix.com.au October. performance works. of the work’s development in 2021/2022. This will ultimately, of course, lead me back to Some of her shows have won awards, some Artist to be confirmed in conversation with 2021 me, to my choices, to the causes and effects of of her theatre performances have grabbed Emma, the co-producers and presenters. MFI CRITERIA Creative development 1: April 12-24 my actions which, like any human, come from attention, and her last show Life is Short and Focused on the theatrical development family life mixing with culture, home, my genes This new work is an ambitious and innovative, Long put her in a wider public eye. She is of the work with the key creative team. and everything in between. and distinctively Australian in its content and currently collaborating with Sarah John, a visual Followed by final mapping process. style. This will undoubtedly be my most personal and artist and theatre maker based in Denmark. For This is the focus of this investment most revealing work. I will tell intimate stories screen, she has worked with Closer Productions, It offers a festival experience to audiences, Creative development 2: November 8-26 only my dearest friends know, of my deep Piper Films, Rob March, Charlotte Rose and marrying contemporary performance practice Focused on the cinematic content and fuck-ups, my attempts at life, the process of me the ABC. with docu-drama/biography, and in key narrative final script. becoming me. Everyone has stories, most are threads (real life stories of people who include emmabeech.com asylum seekers and well-known artists, as just 2022 buried, but in an age where the search for truth worthiness.com.au two examples) holds international interest. Pre-production and production: Jan – March 2022 abounds in such complicated ways, I want to find and tell what I know of the truth of my life, It’s a significant collaboration between the and unravel it in some way. I imagine people will festival, small-to-medium and independent be very glad they are not me on stage, but I also sectors. think it will give an audience a chance to sift through their own family narrative. PREVIOUS MFI GRANTS I see The Photo Box as part performance lecture, part family slide-show, part cinematic visual N/A and audio experience. It will work with the very real, the very un-real and the dramatic. It will be BUDGET funny, moving and have a sense of universality.” Budget has been provided.

24/ 25/ SUPERNATURE AUSTRALIAN DANCE THEATRE

PROJECT PROJECT FUTURE PARTNERS DESCRIPTION POTENTIAL

ADMINISTERING Supernature is the latest work from Garry NA CAIAF FESTIVAL Stewart and the dancers of ADT. Part of Adelaide Festival Stewart’s ongoing Nature Series, which includes the Helpmann Awardwinning The Beginning PRODUCING of Nature and acclaimed film, The Circadian PARTNER COMPANY PROFILE CAIAF FESTIVAL/S Cycle, Supernature investigates ideas on post- humanism as a springboard into new mythologies N/A adt.org.au/the-company on the potential future of the species. Working with RMIT Industrial Design Atelier, the OTHER work will thrust the audience into a world of CO-COMMISSIONING surrealism, bridging the divide between the MFI CRITERIA PARTNERS anthropomorphic and zoomorphic. Following an NA N/A initial creative development in 2019 (supported through MFI) and expanding on the work Colony, PREVIOUS MFI GRANTS OTHER FINANCIAL commissioned by AGSA for the 2020 Adelaide SUPPORTERS Biennial of Australian Art, ADT will present Seed – Supernature N/A Supernature in Adelaide in early 2021, with further touring opportunities sought nationally BUDGET for early 2022. TIMELINE Budget provided on request.

MAR 2021 Adelaide Festival 10-14 CREATIVE TEAM/ Opening Season PERFORMERS Choreographer Garry Stewart

Co-designers Garry Stewart Wendy Todd

Composer Brendan Woithe

Lighting TBC

Dramaturg Ruth Little

26/ 27/ TRACKER DANIEL RILEY/ILBIJERRI THEATRE COMPANY

PROJECT PROJECT CREATIVE TEAM/ PRODUCING MFI CRITERIA PREVIOUS MFI GRANTS PARTNERS DESCRIPTION PERFORMERS COMPANY PROFILE Tracker will encourage an inquisitive audience ILBIJERRI’s projects have previously received ADMINISTERING Tracker, a multidisciplinary work by Wiradjuri Co-director/Choreographer ILBIJERRI is one of Australia’s leading theatre to see, hear and feel the story of Alec Riley in a the following support from MFI and festivals: choreographer and director, Daniel Riley, Daniel Riley companies, and Australia’s longest running First reclaimed First Nations context. This work will CAIAF FESTIVAL 2020 MFI Seed Development Funding $10,000 explores the life and story of his Great-Great- Nations theatre company. ILBIJERRI creates, resonate with audiences of all backgrounds, with Sydney Festival Co-director (Sydney Festival) Tracker Uncle Alec ‘Tracker’ Riley, a Wiradjuri elder from presents and tours powerful and engaging the dichotomy between family and responsibility Rachael Maza Dubbo NSW, who served the NSW Police Force theatre, creatively controlled by First Nations being something that we all empathise with. 2019 MFI Pre-Production funding Black Ties PARTNER The aspiration is to present the work in an open ($401,995.40 MFI; $84,456 from Sydney Festival, CAIAF FESTIVAL/S as a tracker for 40 years through the beginning of Writer artists. Our stories are provocative and affecting the 20th century. Tracker aims to be a culturally and give voice to our unique and diverse and transformative space with the potential for Perth Festival and Brisbane Festival; and $44,451 Rising – Melbourne Ursula Yovich rich and ambitiously original work, exploring the cultures. Born from community, ILBIJERRI has outdoor/promenade presentation. In this space, from Auckland Festival and New Zealand Cultural Consultant legacy of Alec Riley’s decisions in the face of a become a spearhead for Australian Aboriginal the cultural complexities of the era, and their International Arts Festival) Bernadette Riley OTHER forcefully implemented colonial system, a legacy and Torres Strait Islander peoples in telling our similarities to today’s political landscape, will be 2019 MFI Creative Development funding CO-COMMISSIONING that fuels our continued cultural resilience. Composer stories of what it means to be First Nations in presented in a personal and intimate way. PARTNERS ($28,081.67 MFI; $9,606.14 each Melbourne James Henry Australia today. N/A Featuring interwoven dance, music and text, The barriers between performers and audience Festival and Brisbane Festival) Tracker will be made collaboratively by an Dramaturg will be removed, inviting the audience to enter a 2016 MFI Creative Development funding ($27,799 experienced team of First Nations creatives, led Jennifer Medway ceremonial ground, and bear witness as the story OTHER FINANCIAL MFI and $11,914 Melbourne Festival) by Daniel Riley, and consisting of award-winning unfolds. Inspired by the informal ways in which, SUPPORTERS Visual/Spatial Designer ILBIJERRI Theatre Company playwright Ursula Yovich, the renowned Artistic FUTURE when surrounded by community and kin, we find 2015 MFI Seed funding ($10,000 Melbourne Festival) Jonathan Jones In Discussion a level of comfortability that allows a deeper Dubbo Regional Theatre Director of ILBIJERRI Theatre Company Rachael POTENTIAL Maza AM, cultural consultant Bernadette Riley, Performers connection and sharing. Dubbo Regional Council Dubbo Regional Theatre, which rests on BUDGET composer James Henry, visual artist Jonathan Waangenga Blanco Arts House, City of Melbourne Wiradjuri country, have expressed interest Audiences will engage with a reframed First Jones and an all First Nations cast. Yolanda Lowatta Budget has been provided. in presenting Tracker in the future, which for Nations storytelling experience in a space full of Dion Williams Tracker is a story of continued cultural resilience Daniel is an important part of the journey in generosity and warmth. The work will end with Dalara Williams TIMELINE during a time of social and political change at the life cycle of this work, in being able to gift the sharing of tea, continuing the informal setting Tamara Bouman the beginning of the 20th century. Alec chose to it back to his community, from where the story beyond the performance, providing opportunity 7 – 18 JUN 2021 adorn the uniform of the NSW Police Force and Performer/Musician was born and belongs. This relationship is for dialogue between performers and audience. Development served a King and government who were openly integral to the works development, as Daniel Gary Watling Performers will invite the audience to come, sit enforcing assimilation whilst implementing the will consult with his extended Wiradjuri kinship and listen; to experience this journey first hand DEC 2021 White Australia Policy. He was the only tracker network, elders and youth on his and Alec Riley’s by being immersed in the performance and the Pre-Production to be awarded the King’s Police and Fire Service ancestral country. Dubbo Regional Theatre and 75,000 year old ways of story-telling. We want Medal for Distinguished Conduct, and the first Dubbo Regional Council will support Daniel SYDNEY FESTIVAL 2022 the story and the message to resonate with the to be promoted to the rank of Sergeant. His on his trips back throughout 2021 to develop Opening Season audience for long after they have left the show complex decision to cross the racial divide is the work, where he will also engage with local by grounding Tracker’s spirit in the centuries juxtaposed against today’s continually strained First Nations youth through workshops and one RISING MAY 2022 old tradition of connecting feet and voices with relationship between First Nations Peoples and on one connections with the Tracker creative Second Season the land. the Police Force. team. Developing relationships and encouraging pathways within the performing arts industry.

Tracker will be easily tourable into open, flexible spaces, and will utilise ILBIJERRI’s extensive Australian presenter relationships following successful major festival national tours of Black Ties (2020), Which Way Home (2018), Coranderrk (2017), Beautiful One Day (2014) and Jack Charles V The Crown (2013).

28/ 29/ THE PULSE GRAVITY & OTHER MYTHS

PROJECT PROJECT CREATIVE TEAM/ PRODUCING MFI CRITERIA PARTNERS DESCRIPTION PERFORMERS COMPANY PROFILE THE PULSE is a work of scale that unites ADMINISTERING Everything is pulsing. The cells in our bodies are Acrobats Gravity and Other Myths (GOM) is an acrobatics audience, acrobat and choir into a single locked in a dance with the cycles of nature and Martin Schreiber, Jacob Randell, Lachlan Binns, and physical theatre company pushing the organism for a moment in time. This ambitious CAIAF FESTIVAL the waves that describe reality. Sound, Light Lewie West, Mieke Lizotte, Simon McClure, boundaries of new circus. Formed in Adelaide, work is for the here and now. Our ability to Adelaide Festival and matter itself is just a kind of wave. Different Jascha Boyce, Joren Dawson, Alyssa Moore, Australia in 2009, GOM has rocketed to engage close to 60 Australian artists as the pulsing waves that are causing, effecting, Lachlan Harper, Annalise Moore, Rachael Boyd, stellar acclaim with a series of disarmingly arts industry is only just beginning to pick PARTNER responding and reacting at every level of our Jackson Manson, Megan Vaughan Giesbrecht, accomplished ensemble works. Their first itself up from beneath the ashes of COVID-19 comprehension and beyond. As our reptilian Kevin Beverley, Lisa Goldsworthy, Chris Carlos, work, A Simple Space, achieved momentous makes the need for THE PULSE immediate CAIAF FESTIVAL/S brain plods along to an ancient rhythm we Joshua Strachan, Benton Adams-Walker, Shani success having performed more than 850 times and unquestionable. Sydney Festival intuitively know that there is only one thing that Stephens, Ellen Grow, Lyndon Johnson, Axl across 34 countries and receiving multiple A work of this scale has not yet existed in the truly unites all. THE PULSE. If you can’t feel it, Osborne, Joanne Curry, Jordan Hart, Dylan awards, most notably the IPAY Victor Award small to medium physical theatre sector in OTHER CO-COMMISSIONING you are not alive. Phillips, Amanda Lee, Maya Tregonning, Emily for People’s Choice. The company’s subsequent Australia and MFI is the optimum platform Gare, Andre Augustus, Lewis Rankin. work, Backbone, premiered as part of the 2017 PARTNERS One might say that the ultimate goal of physical to allow THE PULSE to be realised to its Adelaide Festival to critical acclaim and three N/A theatre language is to articulate what words Choir full potential. The compelling nature of this Helpmann Award nominations, cementing cannot. To somehow explain the natural 30 vocalists formed from choir groups local proposed work is attractive to festival directors the company’s position as a global leader in and kinetic philosophies embedded in our to each place of presentation across the country due to its exceptionality but OTHER FINANCIAL contemporary circus. GOM’s latest work Out relationships to each other and our existence. also its potential to aid in filing the vacuum of SUPPORTERS Composer Of Chaos premiered at the 2019 Adelaide THE PULSE wants to tell a piece of this story. larger scale works triggered by the ongoing travel Ekrem Eli Phoenix Festival and received the 2019 Helpmann N/A and gathering restrictions. It will see Darcy Grant alchemically wrangle... Award for Best Physical Theatre. GOM utilises Conductor an honest approach to performance to create Versatility and agility make up the skeleton of the • All three ensembles of Gravity and Other Christie Anderson TIMELINE work with a focus on human connection and productions that will find the ability to thrive in Myths (30 acrobats) Director acrobatic virtuosity. the current global climate, especially within the AUG – SEP 2020 • A chorus of 30 vocalists formed from choir Darcy Grant arts industry. THE PULSE will be at the forefront Creative Development groups local to each place of presentation of the new market using the work’s ability to be Designer Festival Theatre conducted by Christie Anderson adapted to both indoor and outdoor settings to Geoff Cobham Associate become the answer to major festivals needs. • An alive and sentient original score by NOV – DEC 2020 Designer Pre-Production Ekrem Eli Phoenix Humanity, camaraderie and humour create Tom Borgas (4 weeks total) the unwavering foundation of GOM’s work, all • Design that sensitively compliments and Producers qualities that are embodied in Australian culture. extends the ambitious and complex nature JAN 2021 Darcy Grant, Jacob Randell, Jascha Boyce, THE PULSE will be a culmination of and a of the work by Geoff Cobham Opening Season Belinda Murphy provocation to GOM’s previous works. A physical Premiere Season Into a monolithic gesture of physical theatre and representation of human connection, embracing Production Manager / LX Operator Sydney Festival (dates TBC) choral aspiration that pushes beyond physical and championing Australian art. Marko Respondeck boundaries that don’t yet exist. FEB/ MAR 2021 Stage Manager THE PULSE will be the embodiment of our PREVIOUS MFI GRANTS Second Season Belinda Murphy Adelaide Festival universal need for physical touch. A mass of Creative Development – The Pulse 60 bodies, moving together as one onstage will Costume Designer TBC act as a welcome reprieve after humanity has Emma Brockliss (TBC) Pre-production – Out of Chaos Third Season experienced restricted access to community. Creative Development – Inter

As with all GOM works, the heart of the piece is Pre-production – Backbone a celebration of the palpable human connection FUTURE that manifests between the performer and the POTENTIAL audience when experiencing the company’s BUDGET N/A infectious charm. Budget has been provided.

30/ 31/ MANIFESTO STEPHANIE LAKE COMPANY

PROJECT PROJECT CREATIVE TEAM/ PRODUCING MFI CRITERIA PARTNERS DESCRIPTION PERFORMERS COMPANY PROFILE N/A ADMINISTERING Choreographer Stephanie Lake Company is a multi-award CAIAF FESTIVAL Manifesto: A Tattoo to Optimism is the Stephanie Lake winning contemporary dance company based PREVIOUS MFI GRANTS next ambitious major work from Stephanie in Melbourne. Known for a gutsy, original RISING (Melbourne International Composer Lake Company. Manifesto will feature nine choreographic style and striking visual aesthetic, N/A Arts Festival) Robin Fox contemporary dancers along with nine drummers Stephanie Lake Company strives to create on nine drum-kits on an elevated semi-circular Lighting Designer performances that are affecting and relevant. BUDGET PARTNER stage that surrounds the dancers. The show Bosco Shaw Our major works include Colossus, Skeleton Tree, CAIAF FESTIVAL/S will harness the power and volume of eighteen Pile of Bones, Replica, Double Blind, A Small Budget has been provided. Set and Costume Designer Adelaide Festival and performers in a fusion of huge sound and Prometheus and DUAL. Working in collaboration Marg Horwell Perth International Arts Festival electrifying dancing. with Australia’s leading dancers and designers, Manifesto will have a diverse cast made up of Dancers the company has been presented in major OTHER CO-COMMISSIONING equal numbers of female and male drummers Nine dancers TBC festivals and venues around Australia and has PARTNERS toured internationally to France, Germany, Hong and dancers. Drummers N/A Kong, Denmark, Singapore and the UK. Historically, mass drumming and dance have Nine drummers TBC Artistic Director Stephanie Lake won the represented military might. In Manifesto we Producer OTHER FINANCIAL Australian Dance Award in 2018 (Pile of Bones) SUPPORTERS look to subvert that association and create its Claire Bradley Duke opposite - a rallying cry for peace and solidarity. and 2014 (AORTA) for Most Outstanding Australia Council and SLC donors Production Management Choreography, the Helpmann Award for This new work is an extension of our First In Last Out Outstanding Choreography in 2014 (A Small exceptionally successful large-scale work Prometheus) and the Green Room Award for TIMELINE Colossus, which sees fifty dancers flood the Best Choreography (Mix Tape) in 2011. She is Creative Developments 2020-2021 stage in a work of high physicality and emotional a recipient of the Australia Council Fellowship punch. In Manifesto, we will work once again FUTURE for Dance, the Sidney Myer Creative Fellowship with scale but this time with only the raw sound POTENTIAL Premiere Seasons 2022 and the Peggy Van Praagh Choreographic of live instruments and with a set design – a first Stephanie Lake Company has strong Fellowship. The company collaborates across for Stephanie Lake Company. international touring networks. We will work theatre, film, music and visual art and has created with our international agents Aurora Nova several large-scale projects for more than one (worldwide) and Cathy Pruzan (North America) thousand participants. to secure touring of Manifesto. We have ongoing relationships with prestigious venues such as Theatre Chaillot, Paris.

32/ 33/ BOUNCE! CIRCA CONTEMPORARY CIRCUS

PROJECT TIMELINE PROJECT CREATIVE TEAM/ MFI CRITERIA ARTISTICALLY COMPETITIVE WORK PARTNERS DESCRIPTION PERFORMERS OF SCALE DEVELOPMENT NEW AND INNOVATIVE Bounce! is a major new artwork of global ADMINISTERING Scoping, Seed funding and stakeholder Bounce! is a large-scale inflatable bouncing Director Circa exist to ask ‘what is possible in circus?’ significance. It is the only circus work ever recruitment (completed) castle that is a circus tent and an immersive Yaron Lifschitz and in Bounce! Amanda Levete and Circa commissioned by Manchester International CAIAF FESTIVAL performance environment. Created by Circa Festival. It is created by world-renowned artists. Architect have answered with a creation that is at once Brisbane Festival FUNDING (CURRENT, IN PROGRESS) in collaboration with award-winning UK architect It is conceived and directed by Yaron Lifschitz, Amanda Levete performance, venue, public art installation and • Milestones: MFI funding outcome Amanda Levete. It radically democratises the community engagement prospect. Circa’s visionary artistic director whose work PARTNER mid-September 2020 circus experience. The audience is spread in Producer has been seen by over a million people in 40 four pockets of 25 through an organically shaped Bounce! combines the highest levels of artistic countries and designed by Amanda Levete, CAIAF FESTIVAL/S • Space and Places funding outcome – Danielle Kellie tent-like structure. A team of Circa’s artists sophistication with broad engagement. It is the UK’s leading architect in cultural spaces. It Sydney Festival (TBC) September 28, 2020 Technical Director perform a choreography of bounces, balances bold, unafraid to break boundaries, to challenge is a highly ambitious work of scale which has • Confirm Festival bookings – October 20, 2020 Jason Organ and acrobatics that explores the unbounded norms and to redraw what is possible in circus attracted significant interest from festivals and OTHER CO-COMMISSIONING • DFAT funding outcome – October 30, 2020 freedom of movement where landings are soft Costume Design and the wider arts. It speaks of the confidence of venues across Australia and around the world. mutuality, the need for broad-based participation PARTNERS • Design (current, in progress) and take-offs are assisted by momentum. Libby McDonnell Proof of its significance is that Circa expects it to It is a world of whimsy, abandon and unalloyed and the value of refined artistic excellence, not have between 8 and 12 commissioning partners Manchester International Festival • Concept Design September 1, 2020 Performers joy where the body in motion is a source as opposites but as part of a vigorous exchange and to tour the world for 5-7 year with at least • Schematic Design: January 30, 2021 Four artists of the Circa Ensemble (multiple of pleasure and inspiration. After 40 thrilling and connection. 1000 performances. Circa’s work has been called OTHER FINANCIAL • Detailed Design: February 28, 2021 companies are available) minutes, the audience is invited to join and the With audience divided into intimate groups “a revolution in the spectacle of circus” (Les SUPPORTERS lines between participant and performer are Echos) and “the standards to which all circus can PRE-PRODUCTION within the performance space, and a production exuberantly abolished. aspire” (The Age) and Bounce! is a major new Cairns Regional Council • Construction and show pre-production footprint that allows multiple performances per chapter in Circa’s creations. Empire Theatres, Toowoomba (November 2020 – April 2021) Bounce! is not just a performance, it is also a PRODUCING day, Bounce! can adapt to changing legislative Mackay Regional Council COMPANY PROFILE and social environments, providing presenting • Contracting of guest artists: April 1, 2021 distinct and visually compelling venue – making HOTA, Gold Coast it suitable for inclusion in arts festivals, cultural viability in a rapidly changing world. PREVIOUS MFI GRANTS • Engagement of builders: March 30, 2021 Circa Contemporary Circus is one of the world’s spaces, public spaces and special events. It leading performing arts companies. Since 2004, • Construction complete: May 15, 2021 DISTINCTIVELY AUSTRALIAN Pre-production – Leviathan is also an installation in itself – the structure from their base in Brisbane, Australia, Circa has Circa have pioneered the stripped back • Testing: June 2021 changes in colour and sound for spectators toured the world – performing in 40 countries to Pre-production - Opus aesthetic and lyrical physicality now synonymous watching from the outside creating an iconic over a million people. Circa’s works have been • Rehearsals, show creation and venue liaison globally with Australian contemporary circus. event of wonder for all onlookers as well as the greeted with standing ovations, rave reviews and (April - September 2021) The fresh thinking, iconoclastic ideas and ability BUDGET audience inside. sold-out houses across six continents. • Show rehearsals: April/May/June 2021 to be radically different, hallmarks of Australian Budget has been provided. • Music completed July 1, 2021 Bounce! is designed to be simultaneously Circa is at the forefront of the new wave of innovation and futurity, are embodied in Bounce! broadly popular and aesthetically refined. It contemporary Australian circus – pioneering • Venue liaison – April-September 2021 Australia’s famous sporting culture and spirit brings Circa’s globally renowned contemporary how extreme physicality can create powerful of participation are reinforced in this project OPENING SEASON circus into the world of high-profile artistic and moving performances. It continues to push that focuses on the human body in motion, • Manchester International Festival – July 2021 installations such as Carsten Höller’s Slides and the boundaries of the art form, blurring the lines recreational playful movement and democratic Tomas Saraceno’s floating cloud webs. Bounce! between movement, dance, theatre and circus. SECOND SEASON access. will feature a bespoke Circa creation with music Fuelled by the question ‘what is possible in • Brisbane Festival, September 2021 from a prominent electronic musician. It will circus?’ Circa is leading the way with a diverse Bounce! Is the brainchild of Circa’s Artistic THIRD SEASON feature four Circa acrobats and be suitable for range of thrilling creations that “redraw the limits Director Yaron Lifschitz and the performance • Regional Queensland Festival Venues, multiple performances per day. to which circus can aspire.” (The Age). component will be created by an entirely October - December 2021 Australian creative team. Under the direction of circus visionary Yaron • Cairns Regional Council Lifschitz, Circa features an ensemble of • Empire Theatres, Toowoomba FUTURE exceptional, multi-skilled circus artists. Circa is POTENTIAL a regular fixture at leading festivals and venues • Mackay Regional Council in New York, London, Berlin and Montreal N/A • HOTA, Gold Coast with seasons at Brooklyn Academy of Music, OTHER SEASONS The Barbican Centre, Les Nuits de Fourvière, • Sydney Festival, January 2022 Chamäleon Theatre as well as major Australian Festivals.

Circa has been hailed as nothing short of “... a revolution in the spectacle of circus.” (Les Echos).

circa.org.au

34/ 35/ WHISTLEBLOWER THE LAST GREAT HUNT

PROJECT PROJECT CREATIVE TEAM/ PRODUCING MFI CRITERIA PARTNERS DESCRIPTION PERFORMERS COMPANY PROFILE In recent years immersive works have become A large screen suspended above the front ADMINISTERING The Truman Show meets Escape Room - Creators/Co-Directors The Last Great Hunt’s purpose is to empower its very prominent, and popular with international CAIAF FESTIVAL WHISTLEBLOWER is an immersive, interactive of the stage displays the action, with a live Tim Watts, Wyatt Nixon-Llyod Core Artists to create ambitious and exceptional and national festivals. WHISTLEBLOWER is theatrical role-playing game for one. A willing sound designer and visual director operating theatrical experiences and connect these unique in its unwavering dedication to theatrical Perth Festival Performers audience member is the player and (there is and channeling the experience for the seated works to audiences near and far. Since 2013 we play and wonder for the audience, but unlike Arielle Gray, Chris Isaacs, opportunity here for local performers to take audience. Costume racks and makeup stations have produced 20 critically acclaimed new works other The Last Great Hunt works with small Gita Bezard, Adriane Daff PARTNER surrounding the box add an extra layer of audience numbers, WHISTLEBLOWER is a work CAIAF FESTIVAL/S part. Entering a soundproof set, embedded with in Perth, and toured regionally, nationally and hidden cameras, the player finds that they have investment and detail for the seated audience. internationally. In 2019 we performed six works, of significant scale for large audiences. This TBC woken up in hospital with amnesia. Their goal: Willing audience members or community groups FUTURE in five countries to 13,500 audience members. work sits firmly as a new Australian work of scale find out who they are, how they got there and will be transformed into characters, driving the investigating the shifts in audiences towards POTENTIAL Core Artists Gita Bezard, Adriane Daff, Jeffrey OTHER CO-COMMISSIONING ultimately what is really going on. The narrative narrative, perhaps being fed lines through an immersive and gaming experiences in a live Jay Fowler, Arielle Gray, Chris Isaacs and Tim PARTNERS is flexible depending on the choices they earpiece, and using extra props or set pieces WHISTLEBLOWER sees two of the world’s performance environment. Watts use a diverse range of skills, focus and TBC make. They might discover they are an android depending on the player’s choices. leading theatre-makers Tim Watts (LÉ NØR [THE RAIN], THE ADVENTURES OF ALVIN aesthetics to create an imaginative and eclectic undergoing experiments of consciousness, or The player: they PLAY HARD and get completely SPUTNIK: DEEP SEA EXPLORER, MONROE and mix of interactive experiences, visual theatre, PREVIOUS MFI GRANTS OTHER FINANCIAL they are a clone bred for organs, or that they are swept up into the fictional world and as a result ASSOCIATES), and Wyatt Nixon-Lloyd (BRUCE) devised and text-based work. Creative Development – WHISTLEBLOWER SUPPORTERS in an inception-like dreamscape. have the best night of their life. Australia Council, create a brand new immersive, interactive work Our works tell stories that challenge, engage and Every narrative twist involves a profound The audience: They help give the player the best on a large-scale. move our audiences. We explore contemporary The Last Great Hunt change in their perception of the fabric in their BUDGET night of their life. They feel the immense joy of ideas and offer a positive discourse on reality: and we as the audience can take delight WHISTLEBLOWER will be designed to play being part of a creative ensemble. And they also social factors. We create new experiences Budget has been provided. in witnessing the reactions of the ‘player’, in a variety of theatres but is best suited to large TIMELINE PLAY HARD! that are relevant and important to both our unless we are lucky enough to take part as the proscenium arch spaces. Onstage will be an audiences, and to ourselves. We value creativity, supporting actors, extras, assistant directors, intricately designed, soundproof set (approx. JAN/JUL/AUG 2020 collaboration and artistic risk-taking. stage managers, costume and makeup – helping 8m by 8m) embedded with a plethora of hidden Creative Development to sculpt the best possible experience for cameras. These cameras will be live mixed and displayed on a large screen suspended above FEB 2021 the player. With a ‘master’ director for the the front of the stage. Designed as a large-scale Premiere season at Perth Festival. experience inside the box, and a ‘master’ director for the seated audience’s experience, theatrical role-playing game for one, the show this show aims to entertain. is observed and co-created by many. Festivals will have the chance to engage local artists/ celebrities and audience members/community groups in this multi-discipline spectacle that encourages the ‘player’ to get swept up in their fictional world, while the audience takes part in giving the player the best night of their life, and feeling the immense joy of being part of a creative ensemble.

36/ 37/ BUNKER BY LISA WILSON & NATHAN SIBTHORPE METRO ARTS

PROJECT PROJECT CREATIVE TEAM/ PRODUCING MFI CRITERIA PARTNERS DESCRIPTION PERFORMERS COMPANY PROFILE Bunker is an original and fiercely contemporary In the months since, we’ve been growing ADMINISTERING A new intermedial dance theatre work Co-Director & Choreographer Metro Arts is developing the future of Australian new performance work, with an unshakeable CAIAF FESTIVAL by nationally acclaimed, Brisbane-based accustomed to a life of virtual threat, where a Lisa Wilson contemporary arts practice, now. focus on how we live NOW. choreographer Lisa Wilson and performance- single text message could unravel our universe. Brisbane Festival Co-Director & Video Designer Championing all contemporary art forms, the two Lead by adventurous and highly-regarded maker Nathan Sibthorpe, exploring the physical But rather than fearing a single catastrophic Nathan Sibthorpe core activities of the organisation are developing choreographer Lisa Wilson and transmedia threat of virtual fear. event, we’re living through a constant all- PARTNER and co-presenting contemporary arts. performance maker Nathan Sibthorpe, Bunker pervading fear of the unknown. We receive daily Lighting Designer & Technical Coordinator CAIAF FESTIVAL/S On 1 December 2017, Hawaii tested its nuclear seamlessly merges complex and ambitious alarms by dubious means; our digital landscapes Christine Felmingham Across Metro Arts’ multiple venues in Brisbane, N/A threat siren for the first time in 30 years. In technological innovation with exquisite painting illusions of chaos. Panic has settled Australia, there are artists taking risks, creating, the following weeks, 26 drills were conducted Video Co-Designer & Stage Manager contemporary dance. into dread. developing, experimenting, and presenting to ensure the state was prepared for the Jeremy Gordon OTHER CO-COMMISSIONING ambitious contemporary art. The work is created by an all-Australian worst. Then… In our isolation we are desperate for a view PARTNERS Dramaturge ensemble of creatives and performers, each outside - to what’s going on outside our Metro Arts’ new home at West Village, Metro Arts ‘BALLISTIC MISSILE THREAT INBOUND TO Benjamin Knapton working at the top of their respective field from bubble, outside our borders, outside of our officially opened on 2 September 2020, HAWAII. SEEK IMMEDIATE SHELTER. THIS IS across the country. understanding. Our primal brains are engineered Designer presents an annual program of contemporary NOT A DRILL’ OTHER FINANCIAL for visceral encounters with predators, but with With Australia’s unique diplomatic and SUPPORTERS Rozina Suliman and experimental performing and visual These alert messages were accidently pushed as the greatest dangers of modern life, we have no arts. This new hub for West End’s diverse geographic relationship with the rest of the Metro Arts Sound Designer & Composer notifications to smart phones across the state. tangible source from which to assess our risk. community is the place in Brisbane to world, Bunker is perfectly positioned to survey Guy Webster Brisbane Festival Warnings interrupted radio and TV broadcasts experience the work of contemporary artists global experiences of digital fear from a distinctly Arts Queensland (2019 & 2020 Nuclear weapons, imminent war, the climate, and news was rapidly shared around the world. the virus… In the absence of sense-able danger, Collaborative Artist & Performer ranging from the emerging to the mid-career Australian perspective. Creative Developments) It took 38 minutes for Hawaii officials to fully and the established. we compensate with our own lurid articulations, Charles Ball Bunker does not shy away from the experience retract their warnings. building for ourselves elaborate nightmares and Collaborative Artist & Performer metroarts.com.au that many Australians will recognise; the need to TIMELINE During this time, people all over Hawaii dispensing panic-stricken commentary in order Asher Bowen-Saunders navigate both real and perceived threats from desperately fought to secure themselves to come to terms with how vulnerable we feel. all corners of the world as they ripple across Collaborative Artist & Performer DEVELOPMENT ‘immediate shelter’. Motorists sped up to oceans, airwaves and social media feeds and into Global stories shift how safe we feel within our Hsin-Ju Ely PREVIOUS MFI GRANTS Judith Wright Arts Centre & Metro Arts 160km/h; shoppers hid in mall bathrooms; own bodies. But still we keep tuning in to alarm. the lives of contemporary Australians. (Aug 2019) parents threw their children into storm drains; Collaborative Artist & Performer N/A Guided by the accomplished creative leadership and telephone systems crashed under the weight Where do we find refuge amidst the threat Jayden Grogan Brisbane Festival & Metro Arts (Sep 2020) of Lisa Wilson and Nathan Sibthorpe, Bunker of a whole population trying to say goodbye. of chaos? Bunker is produced by Metro Arts BUDGET exists as a rare collaboration between two PRE-PRODUCTION How do we construct the illusion of safety esteemed artists coming together from two very Budget has been provided. 4-6 weeks in a climate of fear? *Credits above apply to 2020 creative different artistic practices. development only. Subject to change. Jul-Aug 2021 And when do we begin to believe the Metro Arts seeks the support of the CAIAF so panic online? that these two acclaimed artists may continue OPENING SEASON FUTURE to explore the full extent of their unique, Brisbane Festival & Metro Arts (Sep 2021) POTENTIAL intermedial collaboration and create an original Australian work of otherwise unattainable artistic N/A SECOND SEASON and technological scale. TBD Creative development has already opened THIRD SEASON extremely promising, aspirational tangents for TBD the work including an unprecedented dynamic set and video design involving numerous OTHER SEASONS cameras, biometric sensors, interactive media TBD systems and, of course, a cast of five world- class contemporary dancers. This spectacular complexity of form, grown to match the equally complex thematic ideas within the piece, will set Bunker apart from other new Australian works as a leading candidate for national and international touring.

38/ 39/ BIG NAME, NO BLANKETS ILBIJERRI THEATRE COMPANY

PROJECT TIMELINE PROJECT CREATIVE TEAM/ FUTURE MFI CRITERIA PARTNERS DESCRIPTION PERFORMERS POTENTIAL AUG/SEP 2020 As a rock’n’roll theatre show developed on- ADMINISTERING 1 week remote writing development BIG NAME, NO BLANKETS is a major scale Writers Part theatre, part rock concert, BIG NAME, NO country in Papunya using traditional First Nations CAIAF FESTIVAL rock’n’roll theatre show that celebrates the Ursula Yovich and Emily Anyupa Butcher BLANKETS will be accessible to theatre and methodologies to tell a contemporary First phenomenal journey and impact of Australian music lovers; non theatre-goers; and black and Nations story, BIG NAME, NO BLANKETS will RISING (Melbourne International 20 DEC 2020 Director 1st draft script due for feedback from Sammy music icons, the Warumpi Band, told through the white audiences alike. be a unique and innovative audience experience. Arts Festival) Rachael Maza and Community perspective of the Butcher Brothers. By incorporating Warumpi Band hits with With Emily Anyupa Butcher Designed for presentation outdoors, with archival footage, and both untold and celebrated Created in collaboration with Warumpi band audiences able to sing and dance along to PARTNER 21 MAR 2021 Musical Director, Story & Cultural Consultant stories about the Warumpi Band, BIG NAME, CAIAF FESTIVAL/S member, Sammy Butcher and the families Warumpi band classics, the experience will be 2nd draft script due Sammy Butcher (legendary Warumpi Band NO BLANKETS will be truly accessible and of Warumpi band members, BIG NAME, NO inclusive, generous and uplifting. BIG NAME, NO Darwin Festival – TBC member) fun, whilst recreating the infectious and joyful BLANKETS speaks untold truths about the BLANKETS will have minimal set and be easily Brisbane Festival – TBC 12 – 17 APR 2021 atmosphere of Warumpi Band concerts. Adelaide Festival – TBC * SEEKING MFI SUPPORT FOR THIS PHASE band’s extraordinary ride from the bush to Story tellers tourable to remote communities and capital Perth International Arts Festival international fame. Sammy Butcher – Luritja cities alike. We will also look to developing an The show will celebrate Gumatj and Luritja One-week creative development in Melbourne Kumanjayi Butcher – Luritja in-theatre version if there is demand. languages - just as Warumpi Band songs do - Named after the title of Warumpi Band’s Marion Burarrawanga - Gumatj (representing her showcasing these languages and cultures as second album, BIG NAME, NO BLANKETS ILBIJERRI has extensive Australian presenter OTHER CO-COMMISSIONING 14 JUN 2021 father George Rrurambu Burarrawanga) proud and strong. Dialogue and song lyrics in features Warumpi Band hits, showcasing Luritja/ relationships and ever-growing international PARTNERS 3rd draft script due for community feedback language will have English surtitles, enabling Pitjantjatjara, Gumatj (Yolngu Martha) and Producer networks following successful major national and before August creative development diverse audiences to appreciate their meaning, Sydney Theatre Company - TBC Warlpiri languages. Employing both new and Nina Bonacci international tours of Black Ties (MFI Australian whilst being distinctly Australian. 9 JUL 2021 80,000 year old story-telling techniques, all and NZ tour 2020), Blood on the Dance Floor Translator OTHER FINANCIAL Draft set design concepts due audiences will feel welcomed into this incredible (Canadian tour 2019, and national) Jack Charles BIG NAME, NO BLANKETS is both timely and Lance McDonald SUPPORTERS story from the bush. V The Crown (national 2013, UK and Ireland 2014, joyful – the celebration that we all need. It will Playwriting Australia 2 – 7 AUG 2021 Creative Consultant Canada 2016 and 2017, US 2017, New Zealand and be the ultimate antidote to the current state of Warumpi Band brought hope and strength to Dennis Osborne Clarke Charitable *SEEKING MFI SUPPORT FOR THIS PHASE Lisa Watts Japan 2018), Beautiful One Day (national and the world. First Nations people and united all Australians, Foundation UK 2014), Coranderrk (national 2017) and Which One-week on-country creative development singing truths that echoed the realities of black Theatre Consultant Way Home (national 2018). Given Warrumpi Indigenous Languages and the Arts in Papunya and and white relationships in a colonised world. Sarah Goodes PREVIOUS MFI GRANTS Band’s cult status, the strength of the team and program – TBC Their songs celebrate unity, for black and white Music Team ILBIJERRI’s track record, we are confident that ILBIJERRI’s projects have previously received 19 SEP 2021 audiences to enjoy together. They amplified Jason Butcher the work will translate successfully into a range the following support from MFI and festivals: Rehearsal draft script due black voices, stories and politics while uniting all Crystal Butcher of contexts, nationally and internationally. cultures together with their infectious music. 2019 MFI Pre-Production funding ($401,995.40 31 OCT 2021 Jeremiah Butcher MFI; $84,456 from Sydney Festival, Perth Festival Designs confirmed Packed with humour, iconic songs and rock star Allen Murphy and Brisbane Festival; and $44,451 from Auckland performances, BIG NAME, NO BLANKETS will Cast PRODUCING Festival and New Zealand International Arts LATE 2021 – 2022 be a joyful show that celebrates how music can Elaine Crombie Festival) Pre-production, rehearsals, premiere and touring influence change across a nation. COMPANY PROFILE Baykali Ganambarr ILBIJERRI is one of Australia’s leading theatre 2019 MFI Creative Development funding Derik Lynch companies, and Australia’s longest running First ($28,081.67 MFI; $9,606.14 each Melbourne TBC x 3 Nations theatre company. ILBIJERRI creates, Festival and Brisbane Festival) The band and performers will almost exclusively presents and tours powerful and engaging 2016 MFI Creative Development funding ($27,799 be First Nations, and we will endeavour to theatre, creatively controlled by First Nations MFI and $11,914 Melbourne Festival) appoint Aboriginal and Torres Strait Islanders artists. Our stories are provocative and affecting in all other roles, and provide First Nations and give voice to our unique and diverse 2015 MFI Seed funding ($10,000 Melbourne mentorship attachments where this is cultures. Born from community, ILBIJERRI has Festival) not possible. become a spearhead for Australian Aboriginal and Torres Strait Islander peoples in telling our BUDGET stories of what it means to be First Nations in Australia today. Budget has been provided.

40/ 41/ VALUE FOR MONEY GUTS DANCE// CENTRAL AUSTRALIA

PROJECT PROJECT CREATIVE TEAM/ PRODUCING MFI CRITERIA PARTNERS DESCRIPTION PERFORMERS COMPANY PROFILE Value For Money represents an exciting bold GUTS is making an ongoing commitment to ADMINISTERING Value For Money (VFM) is a contemporary Directors GUTS Dance // Central Australia is a new next step for GUTS Dance, and a significant CAIAF FESTIVAL dance work concerned with the polarity of First Nation’s representation in all aspects of its Sara Black and Jasmine Sheppard Alice Springs/Mparntwe - based contemporary increase in scale for the company. There are power and vulnerability inherent within us organisation, with all future projects (professional dance organisation and is the only platform for considerable challenges for companies operating Darwin Festival Producers/performers all. It explores the value we place on human works, education programs and residencies) contemporary dance investigation, creation, out of the Northern Territory, these are often Frankie Snowdon and Madeleine Krenek lives and bodies, focusing on how relationship, having strong equity in representation and input training and performance within a 1500km radius. greater still for artists living in the Central PARTNER proximity and community change our perception from Australian First Nations and non-Indigenous Collaborating performers Desert. GUTS are committed to pushing artistic CAIAF FESTIVAL/S GUTS aims to be recognised as a centre for of a life’s worth and the worth of a body as a artists and creatives. This representation is Waangenga Blanco, Kelly Beneforti, practice in the NT, and the support of the MFI TBC artistic growth and excellence, championing vessel. Drawing from global events and personal demonstrated and particularly important in Thomas ES Kelly will contribute significantly to the company’s bravery, risk, community and collaboration as accounts, a series of vignettes will be abstracted Value For Money so that a wide variety of stories, capacity to develop this exciting work at the Lighting Design tools for the development of great art, OTHER CO-COMMISSIONING and woven into a non-linear narrative that experiences and points of view are brought to scale it deserves. Chris Mercer meaningful experiences and empowered PARTNERS explores stories, experiences and provocations the table to support the subject matter and the societies. Situated in the unique environment of VFM sees GUTS collaborate with the largest Araluen Arts Centre designed to encourage both the artists and the conceptual rigour of the work. The inclusion of Sound Design the Central Australian Desert, GUTS also aims to ensemble of creatives to date, including two audience to reflect on the way we understand Jasmine Sheppard at the helm alongside Sara Tom Snowdon promote work created and performed in regional co-directors; Sara Black and Jasmine Sheppard. and value our fellow humans. Black speaks not only to this, but continues in OTHER FINANCIAL and remote Australia by a diverse cross section Two male dancers join the company for the first SUPPORTERS the vein GUTS wish to pursue of creating fertile Costume Design In context with the current political and social of Independent movers, makers and thinkers time; Waangenga Blanco and Thomas ES Kelly. Artback NT, Australia Council, Arts and supportive environments for the creation of Lizzy Verstappen climate in Australia and the world, discussions to national and international audiences. Previous collaborators Tom Snowdon (#1 Dads, brave work in which the creators have autonomy Dramaturge NT, Regional Arts Fund, Creative surrounding fear, alienation and human NOMONO), Chris Mercer and Lizzy Verstappen to shift from what might otherwise be perceived Jonny Rowden GUTS co-Artistic Directors, Madeleine and Partnerships Australia commodification are more pressing than ever. round out the creative team. Within this dynamic as “normal” structures in which to work. Frankie, have created and produced two What is presented to us by our media and Research assistant team, half of the female creatives have young full-length professional works since starting the government in terms of who and what we should Tessa Snowdon families or are new mothers, and it is important organisation, The Perception Experiment (2017) TIMELINE fear often closes down our abilities to engage for GUTS to continue to support them in this and The Lost Dance Project (2018), alongside with empathy and acknowledge bias, and this phase of their lives and careers. By facilitating OCT 2020 – JUN 2021 teams of highly acclaimed national collaborators. fear separates us from communities that appear an opportunity in a place where proximity to Pre-development research phase ‘different’ rather than allowing us to see our FUTURE The Perception Experiment toured nationally the studio and ease of travel are much smaller POTENTIAL JUN – JUL 2021 commonalities. and internationally in 2019 and 2020, playing to considerations than in a city, we are able to sold-out houses at Dance Massive and Darwin ensure that these important artists are not put 2 week creative development VFM aims to further this urgent conversation Working with Artback NT to build national tour Festival, Festival Cultural de Mayo in Mexico, and at a disadvantage by motherhood or the logistics and uses dance - with its primary concern for the in 2022/3. in five regional centres around the country. of working with young families. body, that common commodity - as the language to unpack the concepts and conflicts at its heart. The dynamic mix of talents, as well as cultural backgrounds sits at the heart of this artistic project, as is a process driven development that draws on the unique environment and community of the Central Deserts to create a work that speaks to lives, and their value, across the country.

PREVIOUS MFI GRANTS N/A

BUDGET Budget has been provided.

42/ 43/ MONSTER TRUCKS TERRAPIN PUPPET THEATRE

PROJECT PROJECT CREATIVE TEAM/ PRODUCING MFI CRITERIA PARTNERS DESCRIPTION PERFORMERS COMPANY PROFILE Monster Trucks is significant work of scale that The festivals would take the lead on establishing ADMINISTERING ‘“In Australia we have a car culture in the way Director Terrapin explores beyond the borders of is ambitious in its aim to reach communities who CAIAF FESTIVAL Americans have a gun culture. The cult of the car. relationships with the companies/councils/ Sam Routledge contemporary puppetry, contributing to the most may not otherwise experience a work in a major Violence by car.” George Millar 1982 in the run up local government bodies that have appropriate urgent conversations of our time. Making work arts festival. It is distinctively Australian in its Ten Days on the Island Artists to the release of The Road Warrior vehicles for the project. Terrapin would engage for intergenerational audiences, the company irreverence and ability to reach people ‘on the Tom O’Hern with others TBC the artists, having built relationships with creates work for theatres, and interactive road’, acknowledging the size of Australia and PARTNER Monster Trucks is a large-scale movable cartoonists and illustrators nationwide in the Puppet Construction installations for public spaces. the long distances people travel. CAIAF FESTIVAL/S installation that uses magnetic transfers and making of You and Me and the Space Between. Bryony Anderson N/A augmented reality to transform earthmoving Terrapin collaborates and tours nationally and Terrapin is a unique regional company with machinery, semi-trailers and other plant The purpose of this creative development is Composer internationally and has had its work presented by a niche artform that relies on commissioning equipment into comic book monsters. Inspired to work with the artists to develop a unifying Dylan Sheridan The Lincoln Center, Taipei Childrens Art Festival, funding to produce works of scale like All OTHER CO-COMMISSIONING brief for the creation of characters that is PARTNERS by the Stephen King short story ‘Trucks’ and the Aichi Arts Centre, A.S.K Shanghai, the Royal This Coming and Going, King Ubu and Infinite comical, irreverent and allows new characters N/A Art Speigelman designed sticker trading cards Shakespeare Company, Kunsthaus Bregenz, Monster. When given the opportunity, the to be added over time. The artists would each the ‘Garbage Pail Kids’, Terrapin will work with FUTURE William Kentridge’s The Center for The Less company has proven the ability to realise the Australia’s best comic book artists to create a create a draft character and development would Good Idea, and The John F Kennedy Center for projects and find further opportunities for them OTHER FINANCIAL cast of funny, gross and irreverent characters commence on the A.R app, focusing on what the POTENTIAL the Performing Arts. subsequent to the initial local seasons. SUPPORTERS artist is creating with the magnetic strip and what for audiences to ‘collect’ across the duration of N/A Terrapin Over the last three years the company has a festival. the augmented reality is creating. For example, the artist may create the nose of a character, created and co-created three works of scale for PREVIOUS MFI GRANTS Using an app that further animates the with the A.R app creating snot running out of it. festivals, which have been presented locally and 2016 TIMELINE characters using AR, audiences are encouraged internationally. Infinite Monster, a large digital $126,005 to undertake a scavenger hunt of sorts to reimagining of the Exquisite Corpse drawing Ten Days on the Island MAY 2020 locate each monster in its location. The work is game was commissioned by Dark Mofo in 2017, Melbourne Festival Machinery photographed and imagery prepared particularly aimed at smaller communities that before playing The Reach opening festival at The Brisbane Festival may have limited access to festival events, with John F Kennedy Center for the Performing Arts Sydney Festival SEP 2020 the vehicles being located where there are high in 2019. The company co-created All This Coming Prototype ‘Monster’ created – proof of concept Darwin Festival levels of existing pedestrian traffic, for example and Going, an installation across 14 shipping sporting events, parks, main streets and markets. containers with Gruppe 38 and Trickster-P for DEC 2020 There could also be an opportunity to transform Aarhus 2017 European Capital of Culture, which BUDGET Workshop with artists on character development vehicles that would be undertaking road-works was presented by Dark Mofo in 2019. In January and narrative. Budget has been provided. at the time. 2020, Terrapin collaborated with Mona Foma MAR 2021 on King Ubu, an outdoor spectacle presented A.R app development commences at Cataract Gorge in Launceston as part of Mona Foma. APR 2021 Further prototype ‘Monsters’ created.

JUN 2021 A.R app trial commences

SEP 2021 Pitch to M.F.I. for Pre-production.

44/ 45/ RIDERS IN THE CHARIOT BY PATRICK WHITE, ADAPTED BY TOM WRIGHT BRINK PRODUCTIONS

PROJECT PROJECT CREATIVE TEAM/ PRODUCING PARTNERS DESCRIPTION PERFORMERS COMPANY PROFILE FIRST NATIONS CULTURAL Writer Based in Adelaide, Brink creates original ADMINISTERING THE NOVEL WHY NOW? CONSULTATION CAIAF FESTIVAL Tom Wright theatre through long-term collaboration Riders in the Chariot by Patrick White is a These are complex and difficult times. Our Vitally, another reason for undertaking this with great artists. Recent productions include RISING (Melbourne International towering work in Australian literature. Traversing ethical, social and environmental worlds seem creative development is that one of the four Director Memorial (2018 AdFest, BrisFest, Barbican), The Adelaide Festival years and continents, it is set in the mid-20th in freefall. So many are asking what to believe in? ‘Riders’ is a First Nations painter named Alf Chris Drummond Aspirations of Daise Morrow (2018 Galway Fest, Century, in an Australia on the cusp of profound Where do we locate, in this fragmenting world, Dubbo. We are fully cognizant that here is Cultural Consultant/Dramaturg AFC, CTC, Merrigong), Ancient Rain (2016 Dublin PARTNER change, in a world teetering between implosion our shared sense of humanity: transcending a fictional Aboriginal character, written by a TBC – Alexis West Theatre Fest, 2016 Melb Fest, CTC, Merrigong, CAIAF FESTIVAL/S and transformation, as refugees flee post WWII- religion, class, gender, politics, race and the sins white man in the late 1950s/early 60s – prior 2017 Dark Mofo, QPAC, 2017 AdCabFest). N/A Europe, precipitating, in part, the dismantlement of the past? to the ‘67 referendum – most likely written of the White Australia Policy and opening Riders in the Chariot dares to be spiritual in without any consultation, in what would brinkproductions.com the door to our contemporary multicultural a demotic age. It seeks to find the ‘infinite in now be acknowledged as an act of cultural FUTURE OTHER CO-COMMISSIONING Australia and all the complexities of a globalising- PARTNERS everything’, or as White put it: to reveal how “all appropriation. This needs to be deeply, carefully POTENTIAL ghettoising society. Adelaide Festival Centre faiths – religious, humanistic, instinctive or the and comprehensively addressed; with integrity, Early conversations with Sydney Theatre MFI CRITERIA creative artist’s act of praise, are in fact one.” full consultation, collaboration and cultural A FESTIVAL EVENT Company and Wales Millennium Centre – engagement. Riders in the Chariot is one of our nation’s OTHER FINANCIAL Our concept is simple. Tell the stories of Riders The themes are timeless – otherness; migration; both expressed interest to be kept abreast greatest works of literature; a sprawling and SUPPORTERS in the Chariot on the stage, using Patrick White’s alienation; exile and belonging; conflict No writing or adaptation of the Alf Dubbo of development. visionary 1961 masterwork from Patrick White, Arts South Australia exhilarating prose, in an act of radical recitation. between good and evil; brutality pitted against narrative will begin on any element without a Australia’s only literary Nobel Laureate. Over eight hours, with a multicultural ensemble compassion – yet Riders in the Chariot ultimately First Nations’ consultation/collaborative process of actors we will theatricalise the stories of transcends its themes to articulate a vision being in place. Brink Productions, in collaboration with Tom TIMELINE Riders in the Chariot in four parts; four poems of our fragile alikeness and our capacity Wright, will adapt Riders in the Chariot into a for the stage. for transformation. IN SUMMARY major 8-hour festival event, for world premiere FEB/MAR 2021 The objectives of the creative development in 2023. Four poems of Otherness. Form Testing and Commencement of First CREATIVE DEVELOPMENT workshop are to: In all this, Riders in the Chariot has the profound Nations Cultural Consultation x 4 plays (2 weeks) Four poems of Australia. Tom Wright and Brink Productions will bring Explore the collective act of theatrical potential to be rediscovered and re-articulated First Nations Cultural Consultation continues the stories of Riders in the Chariot to the stage, A major festival work, traversing eight hours, storytelling in White’s language. as a nation-defining text and festival-scaled throughout drawing upon the inherent theatricality of in four two-hour plays, spiralling around four theatrical event. White’s exhilarating prose. Casting across gender Explore the impacts/opportunities of culture-/ ‘Riders’ - four seemingly unremarkable strangers, DUE END SEP 2021 and cultural divides, a large multicultural cast will age-/gender-blind casting. who are, in fact, all anointed with shared 4 x first draft scripts inhabit the contemporary moment even as they PREVIOUS MFI GRANTS revelatory visions. Mary Hare, an eccentric Address, through consultation and collaboration inhabit a ghost world of 50’s Australia, forging heiress living alone in a decaying mansion; the fundamental question of the Alf Dubbo MEMORIAL, $360,985.36 – 2017 for 2018 OCT/NOV 2021 a new theatrical irony to re-activate White’s Alf Dubbo, a First Nation/stolen generation narrative and issues of cultural appropriation presentations – Adelaide Festival, Brisbane Creative Development (2 weeks) masterpiece; that it might speak anew: of who painter and visionary; Mordecai Himmelfarb, and authentic representation. Festival, Melbourne Festival (no presentation), we are; of where we have been; and of what we a Holocaust survivor and despised immigrant; and Barbican Centre DUE BY MAR 2022 might become. This process is vital to the overall vision and 4 x Rehearsal Draft Scripts delivered and Ruth Godbold, a compassionate and ultimate success of the project and, given evangelical laundress. White’s elliptical Our vision for Riders in the Chariot is for a the scale and complexity of the endeavour, BUDGET poetic-prose conjures the mysteries of their festival event, not a literary dramatization. is essential that it precedes the first draft Budget has been provided. hallucinatory inner worlds; inner worlds that, The creative development, on the floor with of writing. on stage, can be made flesh, manifesting a deeply a company of diverse and brilliant actors, is communal and transcendent theatrical event. essential for shaping a living performative In all this, Riders in the Chariot has the profound language, laying the groundwork, rules and potential to be rediscovered and re-articulated parameters of form and creating a dramaturgical as a nation-defining text and festival-scaled template with which to navigate the continuing theatrical event. adaptation process.

46/ 47/ AMATAGA CASUS CIRCUS

PROJECT PROJECT CREATIVE TEAM/ PRODUCING FUTURE MFI CRITERIA PARTNERS DESCRIPTION PERFORMERS COMPANY PROFILE POTENTIAL The Major Festival Initiative will allow Casus ADMINISTERING Amataga explores modern-day versions and Jillibalu Riley Casus Circus is recognised as a leader in Yirramboi Festival: Circus to move from being a small independent interpretations of “initiation”. Rites of passage Kamron Wahanui McKinnon contemporary circus on the international stage. company to an organisation recognised for CAIAF FESTIVAL A festival dedicated to first nations content and will be recounted and performed by an Mayu Muto showcasing and championing diverse acrobats Brisbane Festival Casus Circus performances are rich in human driven by First Nations creators and producers. ensemble of artists from four different nations Ella Ganza on stage – in terms of colour, race, sexuality, size connection, integrity, cultural diversity and This is an opportune moment to put some with five unique perspectives. Amataga is an Natano Fa’anana and gender. PARTNER precise, intelligent choreography. Acrobats fill of the content of Amataga in front of our exploration of active and inactive ancient rituals CAIAF FESTIVAL/S Director the stage with momentum and stillness, with communities. From respected elders and cultural Casus Circus is the most diverse contemporary and respective practices in a contemporary N/A Natano Fa’anana strength and fragility, and overwhelm audiences advisors, we will get feedback to take back to circus company in Australia. Casus tours 90 circus context. with breathless emotion that often leads to a the rehearsal floor in anticipation of the next percent of the year internationally and is Assistant Director The wider cultural themes, dances, and silent theatre throughout the performance – creative development. unfortunately rarely seen in Australia. Currently, OTHER CO-COMMISSIONING Johnny Brown language pertaining to each key creative will be followed by a standing ovation at the end. our local stages do not see acrobats of colour on PARTNERS Darwin Festival researched over this period. Cultural protocol, Creative Consultant stage. Amataga is set to change this with a main Cluster Arts, La Boite Theatre Renowned for their aesthetic of delicately human Felix Preval supported a funding application for authenticity and sensitivity will inform and guide Jesse Scott stage production showcasing some of Australia’s Company circus, Casus Circus premier work Knee Deep is Amataga and a keen supporter of Casus Circus. the creative development and rehearsal process, leading artists of colour. Lx and Set Design an international sensation. Performed in more including movement that informs the acrobatics, Upswing, United Kingdom Casus is currently Polytoxic than 24 countries, Knee Deep won numerous Amataga is culturally diverse in every sense – OTHER FINANCIAL music made by and performed by artists of working with Vicki Amedume to provide SUPPORTERS international accolades, including Best Circus from artists, to production and team. There colour, and dramaturgical contributions from Musical Director outreach programs in the UK with Amataga and Physical Theatre 2016 Adelaide Fringe, and has been an extensive research period prior to Yirramboi Festival our Elders. Airileke Ingram artists when the show tours internationally. Best Circus and Physical Theatre Avignon 2015. rehearsals beginning with constant collaboration Amataga will be a visually and emotionally Set & Rigging Consultant Tandanya National Aboriginal Cultural Institute and feedback from Elders to maintain On the success of Knee Deep, Casus Circus stunning show features Casus’ signature style Lachlan Mcaulay Working with an Indigenous space driven by First cultural etiquette. have grown to an established touring company TIMELINE of heart in the mouth moments. Using their Nations people, we look to do further creative Production Manager of 16 acrobats, making up three casts which Casus knows how to make a successful show that theatrical language featuring strength and development and residencies in this space. NOV – DEC 2020 Latisha Ackland tour internationally with the shows Knee Deep, has an extensive touring life as demonstrated fragility which focuses on human connection, Research and individual development. Chasing Smoke, You & I, Driftwood and DNA. Droles De Droles by previous works such as Knee Deep. Support inclusion, and diversity, Amataga will push the Supporter Presenting partner for France touring from MFI will allow the company to create new boundaries and be the first of its kind of what La Boite Inclusion and diversity are at the forefront of JAN – FEB and residencies markets with a greater reach, specifically bringing we currently see on Australian stages. all their work, giving light and energy to stories Date TBC: Relies on interstate travel. General Management more culturally diverse audiences to the theatre. that are often absent from our stages, or heavily Kultureconsulting, Germany After 8 months of working remotely, this creative Cluster Arts Goals and Objectives: Reconnection and stereotyped. The company is one of the most development project will bring the entire cast Presenting partner for Netherlands, Germany Act Creation diverse in Australia, with more than 70 percent PREVIOUS MFI GRANTS into one room, to compile our research, and layer touring and residences of the company non-Caucasian, and strong in the artistic discoveries and cultural findings 2020 – $10,000 – Brisbane Festival APR 2021 representation from the LGBTIQX community. Continued research and development gathered during the period. (Seed Funding) – Amartaga Casus also subverts gender normative 2019 - $10,000 – Brisbane Festival This stage of the CD will also take the work to a stereotypes, with women demonstrating strength APR – MAY 2021 (Seed Funding) – Paradigm larger scale with major collaborators including: and basing complex balances, and men exploring Further develop existing acts, incorporating delicate styles and moving with intimacy both technical and production elements. Renowned company Polytoxic in lighting and and finesse. BUDGET set design MAY 2021 Originating in Brisbane, the three co-founders Budget has been provided. Airileke Ingram as Musical Director • Excerpts of Amataga will be selected (Jesse Scott, Lachlan Macaulay, and Natano to be performed at Yirromboi Festival, La Boite Theatre Company Fa’anana) remain company members and close being performed for the greater First friends. Their home-town values of humanity, This three-week creative development will Nations communities. friendship and connection flow throughout culminate in a showing at Yirramboi Festival. the company and their performances. It is • This is crucial moment to receive the this that forms the backbone of Casus Circus critical reviews from our First Nations signature style. peers and to ensure each culture is being represented with cultural protocol Off stage, Casus Circus actively work to maintain and respect. their human connections through community All artistic and culturally specific engagement, education, and collaboration feedback will be fed into the next alongside their performance works. creative development.

48/ 49/ SET PIECE ANNA BRECKON AND NAT RANDALL PERFORMANCE SPACE/TANDEM

PROJECT PROJECT CREATIVE TEAM/ PRODUCING MFI CRITERIA PARTNERS DESCRIPTION PERFORMERS COMPANY PROFILE The work is made by two Australian artists Set Piece departs from a classical narrative ADMINISTERING Set Piece is a 90-minute live work at the Co-directors/writers Performance Space is the crucible for risk- utilising innovative theatrical forms blending CAIAF FESTIVAL intersection of theatre, film and dance that structure, instead, building interest through Anna Breckon and Nat Randall taking artists. Emerging over 30 years ago in film and theatre and using repetition to deeply explores desire and intimacy in lesbian erotic shifting intimate dynamics, visual and aural response to artists’ articulated desire to explore explore the ethics, politics and pleasures Adelaide Festival Performers dynamics. It consists of a 30-minute scene erotics, and logics of repetition. Audience feeling and investigate new forms of art, Performance of queer dynamics. Following The Second Anni Finsterer; Eugenia Fragos; involving four performers repeated three times. is conjured through intimate physical contact Space has consistently identified, nurtured and Woman, Set Piece develops the artists’ process Nat Randall and Carly Sheppard PARTNER While the basic narrative scenario remains the between performers, haptic cinema and sound of creating cinematic spectacle out of live CAIAF FESTIVAL/S presented new directions in contemporary same for each iteration, dialogue, blocking, techniques (e.g. ASMR), subtle lighting states, practice. We champion risk, experimentation, performance, bringing to the fore questions of RISING; PERTH Producer performances, relational dynamics, lighting, colour, a tactile set design and set dressing that Performance Space/Fenn Gordon, Tandem and new modes of creative expression. the relations between the two forms. We have cinematography and editing shifts. The scene stimulate an erotics of touch. Performance Space continues to evolve and fielded strong international interest in this work Music Composition and Sound Design OTHER CO-COMMISSIONING operates in real time and is written to give a renew to meet the needs of the independent during its development. The set is a 6mx6m metre box demarcated by Nina Buchanan PARTNERS sense that it belongs to a broader theatrical sector and explore new models for developing thin chrome edges on a revolving stage with Although a relatively small cast, Set Piece is a Liveworks/Performance Space; piece. Each iteration includes subtle changes, and presenting the most critical and important audience seated on facing sides. The lounge Cinematographer work of significant scale in terms of concept, Artshouse; Vitalstatistix so no iteration is either exactly the same, or new work. Fenn Gordon moved to Australia in area and connected bedroom are lined in white Ross Turley design and delivery, with live film components dramatically different. 2007 to join Performing Lines as the producer longhair carpet, the kitchen and bathroom Lead Camera Operator that put the work beyond the scope of both the responsible for international projects. In late OTHER FINANCIAL The work explores lesbian dynamics in relation are connected by white tiled floor. With the EO Gill artists and the original commissioning partners. SUPPORTERS 2017 she returned to independent practice to concepts of desire, power, representation, audience divided to the front and the back, Set design sector with her own company Tandem, working The key creative team consists of primarily Australia Council genre, ethics, attachment, friendship, and need. performers are visible from a multitude of Genevieve Murray (Future Method Studio) between Australia and New Zealand specialising Australian female and non-binary practitioners. The script brings together quotes, images, perspectives. The stage slowly rotates for a in strategic development, producing and scenarios, erotic dynamics, power plays and single loop across the 90 minutes. The incredibly Lighting design Works of scale with high production values TIMELINE international touring. From 2009 – 2011 she styles of intimacy from a range of lesbian films, slow movement allows the spectator to see the Jo Kilgour that centre around lesbians and non-normative was the Director, Market Development for the television texts, and lesbian pulp fiction from the repeated action across 360degrees, giving the modes of relationality are extremely rare. DEVELOPMENT Australia Council for the Arts. She has written 50s and 60s. It also draws on improvisations with sense of surveillance, speaking to the history of Music Curation Depictions of lesbians on stage often operate Three previous developments, all funded Jade Muratore and taught extensively about the performing queer performers and interviews to create an public investment in surveying and controlling in the domain of representation, with work through the Commissioning partners and the arts, including developing and delivering market experience that moves through a range of genres queer private spaces. This movement also assists primarily serving the function of visibility. Set Australia Council: 1. Vitalstatistix July 2019 ($12K). Hair/Makeup and costume design development workshops in New Zealand, of intimacy between women. in the hypnotic quality of the work, distorting Piece is as much interested in formal innovation 2. Artshouse November 2019 ($15k). 3. Online Sophie Roberts Australia, Canada and Taiwan; is a founding memory through minute shifts in physical point as it is in representation. It deploys queer modes script development May-July 2020 ($9,996.40) Set Piece loosely takes up and adapts the member of the Performing Arts Network of New of view. Dramaturg of relationality and lesbian affect as a formal intergenerational premise of Who’s Afraid Zealand (PANNZ) and of the Asian Producers Miranda Harcourt system and structure. Lesbianism and queerness PRE-PRODUCTION of Virginia Woolf? The 30-minute scene Set Piece is captured by multiple cameras and Platform (APP). She is the author of The Touring is not only its material but also its form. Pre-production occurs in two timeframes: involves four characters; two sets of couples projected live on two large screens. Filmic in Manual (CNZ 2003; revised 2007). style – highly composed, subtly lit, shot on high- 21 – 29 November 2020 ($36,422 confirmed separated generationally. Where Who’s Afraid quality cameras and lenses – particular moments FUTURE performancespace.com.au Australia Council funding) of Virginia Woolf? takes long-term coupledom PREVIOUS MFI GRANTS are emphasised, making visible the unsaid. POTENTIAL and intergenerational heterosexuality as its CAIAF to complete 4 – 16 January 2021 core relational structures, Set Piece considers The work is designed to present complex concepts N/A intergenerational lesbian coupledom. in a highly accessible and entertaining form. OPENING SEASON It represents an alternative to heterosexual BUDGET Adelaide Festival/Vitalstatistix, venue TBC,, models of intergenerationality and coupledom Budget has been provided. dates Feb/March 2021 in both its form and content. SECOND SEASON RISING/Arts House, Meat Market, Melbourne May – June 2021

THIRD SEASON Liveworks, Performance Space, Sydney October 2021

OTHER SEASONS Perth Festival, venue TBC, Feb/March 2022

50/ 51/ AS IT STANDS THE NEW ZEALAND DANCE COMPANY (NZDC)

PROJECT PROJECT CREATIVE TEAM/ PARTNERS DESCRIPTION PERFORMERS

ADMINISTERING Celebrated New Zealand Arts Laureate Choreographer/Director CAIAF FESTIVAL Ross McCormack was commissioned by the Ross McCormack 2019 Auckland Arts Festival to create full-length Auckland Arts Festival Composer work As It Stands. A rich integration Jason Wright of design and dance paired with scenography PARTNER CAIAF FESTIVAL/S and performance, the work created with Lighting Designer McCormack’s company Muscle Mouth was N/A Natasha James met with critical acclaim. Dramaturg OTHER CO-COMMISSIONING The New Zealand Dance Company (NZDC) Melanie Hamilton and Muscle Mouth have since formed a PARTNERS Dancers new collaborative partnership, and will N/A James Vu Anh Pham together further develop the work for touring Lauren Langlois opportunities from 2022. OTHER FINANCIAL Tiana Lung SUPPORTERS Dancer, choreographer, actor, director and set Toa Paranihi N/A designer – McCormack has long been inspired by Luke Hanna the work of American artist Richard Serra, who Emily Adams creates large-scale assemblies of sheet metal Jeremy Beck TIMELINE that are formidable in size, commanding space Christina Guieb while imposing coordinates, rules, structure N/A and wonder. Large sculptures punctuate a ritualistic world FUTURE PRODUCING of mystery and knowledge. Eight dancers, POTENTIAL who serve as inhabitants/guardians of the N/A COMPANY PROFILE environment, create the rules by which NZDC is a high-calibre community of dancers, they move. creative collaborators, arts managers and Within this world, curiosity arises. Desire for supporters dedicated to producing and unity emerges equally with a desire to break MFI CRITERIA presenting inspiring new dance for Aotearoa/ apart and destroy. As It Stands embodies what N/A New Zealand and the world. We exist with the happens when man, nature and industry collide. desire to change the way audiences experience contemporary dance – to break boundaries and PREVIOUS MFI GRANTS share its power, beauty and humility. N/A Our vision is to create new connections to dance by staging compelling, relevant works in BUDGET highly engaging ways that not only entertain, but resonate long after the experience is Budget provided on request. over. NZDC was formed to build a hotbed of diverse, creative voices by attracting new talent whilst also reclaiming dancers and choreographers who have left our shores. Our point of difference exists in providing a full-time home for challenging and growing New Zealand contemporary dance culture.

52/ 53/ RED DANCENORTH

PROJECT PROJECT CREATIVE TEAM/ MFI CRITERIA PARTNERS DESCRIPTION PERFORMERS Dancenorth exemplifies creative leadership, Red hair was created by a genetic mutation in THE PERFORMANCE ENVIRONMENT ADMINISTERING RED – viewing humans as nature Direction/Choreography consistently producing works of the highest CAIAF FESTIVAL northern Europe tens of thousands of years Audience members enter a large space to find Amber Haines and Kyle Page quality. Conceptual rigor, true collaboration, PROJECT NARRATIVE ago. When humans migrated out of Africa their a transparent cube containing two performers risk and adventure are central tenets to the Brisbane Festival Dramaturgy RED reveals humankind as a simultaneously skin lightened over time because they were with red hair. The performance is modular Dancenorth creative process. RED is a wholly Gideon Obarzanek insignificant and utterly dominant form of life on exposed to less sun. The gene associated with with audience ideally seated in traverse, new offering from Dancenorth exploring notions PARTNER Earth. Humanity cannot be sustained without a red hair, melanocortin-1 receptor (MC1R), had the simultaneously witnessing both the performance of humankind as a simultaneously insignificant CAIAF FESTIVAL/S Lighting Design diverse, resilient and intact ecosystem of natural beneficial effect of increasing the body’s ability and the other viewers. End on seating Niklas Pajanti and utterly dominant form of life on Earth. The RISING – TBC processes (internal and external), including to cope with sunlight, allowing redheads to arrangement is also possible. work offers a compelling and stark reminder of bacteria, protozoa, fungi, plants and animals of all efficiently generate vitamin D2. Sound Design humanities insatiable desire for progress and the An evocative sound score featuring text written OTHER CO-COMMISSIONING sizes, at all levels of the food chain. TBC brutal costs associated with exponential growth • Less than two percent of the world’s and recorded by Victor Steffensen (Fire Country PARTNERS in a finite world. As air is continually removed Our relationship to nature is increasingly population have natural red hair. 2020) saturates the space which is occupied Set Design N/A from the structure we are collectively reminded distorted and we no longer perceive the subtle by two of Australia’s most extraordinary dance David Cross • Carriers of MC1R are more prone to skin that time is running out. symbiosis required for life to sustain, let alone artists, Sara Black and James O’Hara. cancer and are more sensitive to pain. Costume Design OTHER FINANCIAL flourish. We have separated ourselves from RED is distinctively Australian in that it SUPPORTERS The air inside the cube is gradually removed, Harriet Oxley nature on a physical, psychological and spiritual • Global intermingling reduces the chance is being made by Dancenorth out of our ultimately vacuum packing the two performers, N/A level and the grievous damage we have done of redheads meeting and reproducing. Text and voice regional home base of Townsville North preserving them with nothing but one another. to the beauty of the earth is crippling the Victor Steffensen Queensland – Wulgurukaba Country. The • Total sperm count has declined by 59.3 foundations of human existence. These two bodies speak to the suffocation of our work will be made with eight exceptionally TIMELINE percent over the last four decades among Performers environment, the rapid loss of plant and animal talented Australian Artists including Victor A 2016 study published in Science magazine1 North American, European, Australian and Sara Black and James O’Hara species, the suffocation of dissenting voices and Steffensen, a descendent of the Tagalaka SEP 2020 analysed 2.38 million records for almost 40,000 New Zealand men 3. an increasing global intolerance of minorities. people. Victor is a writer, filmmaker, musician Development species, collected by hundreds of scientists at • In 2011 Cryos International Sperm Bank, and most recently well known for his work in over 18,500 sites around the world. On average, Time is running out. the largest sperm bank in the world, FUTURE restoring and sharing the knowledge of cultural DATES TBC the number of originally present species has began turning redheads away due to lack 1 Has land use pushed terrestrial biodiversity POTENTIAL responsibilities and practices of cultural fire Pre-production dropped by 15.4 percent globally as a result of of demand. beyond the planetary boundary? A global in the Australian landscape. (6 weeks incl. premiere performance) humanity’s changing modes of land use, with N/A assessment biodiversity having transgressed the safety • Red hair is recessive – their numbers are OPENING SEASON boundary in nine of the world’s 14 biomes – which in decline. Science 15 Jul 2016: Vol. 353, Issue 6296, pp. PREVIOUS MFI GRANTS Brisbane Festival include deserts, grasslands, forests, and other 288-291 Humans have championed mastery over nature PRODUCING Pre-production – Communal Table types of environment. The researchers found since time immemorial. When ecosystems fail, 2 The genes linked to red hair. The Roslin COMPANY PROFILE that species numbers have dropped to below Pre-production – Dust our own health is at risk. When our own health is Institute at The University of Edinburgh - safe levels across 58.1 percent of the Earth’s land dancenorth.com.au/our-company at risk, our internal ecosystems fail. 10/12/2018 Pre-production – Attractor surface, representing an area that is home to more than 70 percent of the human population. Time is running out. 3 European Society of Human Reproduction and Creative development – One Infinity As co-author Andy Purvis explains, “until and Embryology, 2017 unless we can bring biodiversity back up, we’re BUDGET playing ecological roulette.” Budget has been provided. We are plummeting toward a natureless world. The consequences are already being felt, for some far more than others.

54/ 55/ HOW WE FOUND WHAT WE HAD LOST TERRAPIN PUPPET THEATRE

PROJECT PROJECT CREATIVE TEAM/ PRODUCING MFI CRITERIA PARTNERS DESCRIPTION PERFORMERS COMPANY PROFILE This work is formally ambitious in its aim to ADMINISTERING How We Found What We Had Lost is an Co-directors Terrapin explores beyond the borders of create theatre that has no people in it. The work CAIAF FESTIVAL Australian/Japanese collaboration that engages Sam Routledge and Narumi Koehie contemporary puppetry; contributing to the most is inspired by Heiner Goebbels works such as with speculative futures through the creation urgent conversations of our time. Making work Stifters Dinge and Everything that happened Ten Days on the Island Writer of a world that is very much alive, but has none for intergenerational audiences, the company and would happen where the sound composition Finegan Kruckemeyer of us in it. Using hacked kitchen appliances, creates work for theatres and interactive and the movement of objects and material PARTNER items infers meaning. It features a particular CAIAF FESTIVAL/S puppetry and simple robotics, a mysterious Designer installations for public spaces. automated environment comes to life as we Ayami Sasaki combination of Japanese and Tasmanian artists, N/A Terrapin collaborates and tours nationally and listen to a story of renewal, where the children all of which share a unique island culture, living Composer and Robotics internationally and has had its work presented by are the adults in the room. How We Found What on islands surrounded by islands. Dylan Sheridan The Lincoln Center, Taipei Childrens Art Festival, OTHER CO-COMMISSIONING We Had Lost will be a visually arresting, funny Aichi Arts Centre, A.S.K Shanghai, the Royal Terrapin is a unique regional company with PARTNERS and magical examination of a potential future. Puppet Designer and Maker Shakespeare Company, Kunsthaus Bregenz, a niche artform that relies on commissioning Aichi Arts Center (Japan), Bryony Anderson Kinosaki Arts Center,(Japan) The narrative for this work begins with the William Kentridge’s The Center for The Less funding to produce works of scale like All following lines: Good Idea, and The John F Kennedy Center This Coming and Going, King Ubu and Infinite for the Performing Arts. Monster. When given the opportunity, the “When the birds became extinct, we gave up OTHER FINANCIAL FUTURE company has proven the ability to realise the eating eggs. The writer for this project, celebrated playwright SUPPORTERS projects and find further opportunities for them POTENTIAL Finegan Kruckemeyer, has had 89 commissioned Australia Japan Foundation, When the fish became extinct, we gave up subsequent to the initial local seasons. Aichi Arts Centre in Nagoya is a presentation plays performed on five continents, translated Terrapin throwing nets. partner for this work and we are seeking further into eight languages. He has received 35 When the ice became extinct, we gave up north Japanese presenters for the production. As awards including the 2017 Mickey Miners PREVIOUS MFI GRANTS TIMELINE and south. with You and Me and the Space Between Lifetime Achievement Award (for services to 2016 (YAM), which was commissioned through the international theatre for young audiences), the And when the clocks became extinct, we gave $126,005 AUG 2020 MFI framework, this work is designed to tour, 2015 David Williamson Award for Excellence in up Time.” Ten Days on the Island Draft script complete - translated into featuring a model that casts a narrator in each Australian Playwriting, and an inaugural Sidney Melbourne Festival Japanese – begin remote creative The text will be written as a story and read by place it plays, facilitating local engagement and Myer Creative Fellowship. Last year 34 seasons Brisbane Festival development with Japanese collaborators. a local narrator in each place we play, providing presentation in multiple languages. After YAM (including six world premieres) were presented Sydney Festival the audience with maximum proximity to played five major festivals in Australia, it went on globally, with seasons in eight countries and Darwin Festival JUL 2021 the narrative by hearing it in their language to tour to the UK, USA, China and Japan. We are six languages. Creative development focusing on integration and accent. aiming, once international touring resumes, for Composing the score and creating the robotics, of design and narrative (Kinosaki Arts this work to follow a similar trajectory through BUDGET The work is designed by Ayami Sasaki from Dylan Sheridan is a composer and artist Center, Japan) Terrapin’s established international networks. Tokyo-based theatre company FAIFAI. based in Hobart. In 2017 he received a Green Budget has been provided. Terrapin is represented in the US by Boatrocker FEB 2022 Room award for Crush (with Sam Routledge) Ayami will create a set that hints at a humidicrib, Entertainment. The target audience is families Creative development, Hobart, Australia in the Contemporary and Experimental where any incursion into the space can only with children aged 8-12, also suitable for children Sound Performance category. He is regularly be made by an instrument, conjuring toxicity, 6 and over. LATE 2022/EARLY 2023 commissioned to compose sound for dance, fragility, the constant threat of failure and the Pre-production and premiere theatre, parades and festivals, and frequently tenacity of getting something to work with the incorporates interactive technologies. He wrong tools. The company will also work with has undertaken a number of national and director Narumi Koehie, artistic director of international residencies including an Asialink Dienanagekijo, whose work have been performed residency at the Kyoto Arts Center. at 33 cities in Japan and abroad in France, Germany, South Korea and Taiwan.

Terrapin and The Aichi Arts Centre (Japan) will partner on the development of this new work having successfully worked together on the Japanese premiere of Terrapin’s production of You and Me and The Space Between by Finegan Kruckemeyer in 2018.

56/ 57/ AND THE EARTH WILL SWALLOW THEM WHOLE RACHEL ARIANNE OGLE

PROJECT PROJECT CREATIVE TEAM/ PRODUCING PARTNERS DESCRIPTION PERFORMERS COMPANY PROFILE the physical language and signification of dance ADMINISTERING And the Earth Will Swallow Them Whole Choreographer Ogle is a dance artist with an 18-year career CAIAF FESTIVAL (ATEWSTW) is a new work for five dancers, with Rachel Arianne Ogle as a performer, choreographer, educator as a mode for both performer and audience to a live sound score integrating electronica and and arts worker. Her investments in dance engage with the world as revealed in the body. Perth Festival Sound Designer a grand piano, and a strong design component. as a contemporary art form are deep and Often drawing from the cosmos, works place the Luke Smiles Inspired by the subterranean layers of the earth, multi-faceted, encompassing artistic roles in audience in a liminal space, oscillating between PARTNER the micro and the macro. Her 2014 landmark CAIAF FESTIVAL/S ATEWSTW explores notions of shifting tectonic Live Pianist and Sound Collaborator company and independent dance, international plates, fault lines, and the natural processes of residencies and exchange projects, tertiary work precipice was nominated for a Helpmann TBC Gabriella Smart the earth; delving into an underworld of death, lecturing, and a dedication to long-term projects Award for Best Dance Work in 2015; and Set Designer grief and the unknown in between spaces. within disability arts and remote communities. shortlisted for a 2015 Australian Dance Award Bruce McKinven OTHER CO-COMMISSIONING Over the past eight years she has been for Outstanding Achievement in Independent Working with states of tension, instability, PARTNERS Performers creating a body of work distinctive in style Dance. In 2016 Ogle was a commissioned rupture and collapse, ATEWSTW interrogates TBC Dancers x 3 and content, adding to the diversity of artistic choreographer for Sydney Dance Company’s a movement language of visible and invisible voices occurring within Australia. Her work has season, New Breed. Ogle has been the recipient forces pushing, pulling, sliding and fracturing. been presented in Perth, Melbourne, Sydney; of an Asialink Residency (2016); an Australia OTHER FINANCIAL The struggle of the human body dealing with SUPPORTERS France, Netherlands, Singapore and Nigeria. Council International Residency at EMPAC the stress and unpredictability of an unstable FUTURE Department of Local Government, Her work is distinguished by precise, physically in New York (2017); and an Australia Council environment is explored, unearthing the POTENTIAL demanding and acutely complex choreography. International Residency at Cite Internationale Sport and Cultural Industries & fragility and impermanence of our place within N/A Her detailed approach to kinesthetic movement des Arts in Paris (2018). In March 2019, she The Australia Council for the Arts the universe. and energy allows intricate, elastic dynamics to presented her installation and performance work A work in two acts, ATEWSTW will shift the emerge and immersive experiences to manifest i have loved the stars too fondly to be fearful of TIMELINE audience perspective of how they view and through the dancing body. Her works seamlessly the night at The SUBSTATION in Melbourne, engage with the work. Act I is designed to be integrate choreography and design, creating as part of Dance Massive. Most recently 2020 viewed from above; Act II invites the audience synergetic collaborations with designers across programmed by the State Theatre Centre of Creative Development #1 into the performance space with the performers. visual, spatial and sonic planes. Focusing on the WA for a return season of precipice in May 2019, body as a site to explore temporal concepts followed by a season at PICA in June 2019 of the 2020 NOVEMBER of time, space and self, she aims to interrogate sequel work i have loved the stars too fondly to Creative Development #2 be fearful of the night. And Set Construction

FEB 2022 Premiere season at Perth Festival MFI CRITERIA N/A

PREVIOUS MFI GRANTS N/A

BUDGET Budget has been provided.

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