Program 2017 Showcase Victoria Program 3

2017

PROGRAM 2 2017 SHOWCASE VICTORIA PROGRAM 2017 SHOWCASE VICTORIA PROGRAM 3

CONTENTS

WELCOME 4 Melbourne Chamber Orchestra Regional Touring Season 176 2018 PROGRAM 6 Guernica 180 SHOWCASE VICTORIA IS PROUDLY PRESENTED BY THE A Touch of Grace: Shadow Warrior 8 LAMB 184 VICTORIAN ASSOCIATION OF PERFORMING ARTS CENTRES Bright World 12 AND REGIONAL ARTS VICTORIA Boats 188 Macdeth 16 Transplant 192 FoRT 20 The Pilgrim 196 Taxithi - An Australian Odyssey 24 Imaginary Architecture 200 Robot Song 28 Trash Test Dummies 204 Larry Paradiseo and The Fabulous Dame Farrar 32 Rogue Romantic 208 This is Eden 36 Sun Rising, The Songs That Made Memphis. 212 Perhaps Hope 40 Water by Michael Johnson 216 Dinosaur Time Machine 44 James Taylor: Bittersweet and Low 220 Oculus Sonic Suite featuring Marita Dyson 48 Barry Morgan Is Out Of This World 224 Blue Love 52 Australian Booty by Black Honey Company 228 One and the Other 56 The Big Tops & Tiny Tots Circus Show 232 Play For Australia 60 Do You Speak Chinese? 236 SHOWCASE VICTORIA IS SUPPORTED BY THE The Adventures of Broer and Zus 64 Prehistoric 240 VICTORIAN GOVERNMENT THROUGH CREATIVE VICTORIA Songs From The Sun and Moon - Adam Dunning 68 Picasso and His Dog 244 A Room of One’s Own by Virginia Woolf 72 The Very Round Robin 248 Super Amazing Giant Girl 76 Hallowed Ground - Women Doctors in War 252 LAmante Anglaise OR The Lovers of Viorne 80 3 Speed Crunch Box Re-BOOTED 256 Dane Simpson - Aborigi-LOL 84 WHO AM I..? 260 Rust and Bone by Caleb Lewis 88 For Love or Money 264 Can You See What We See? 92 Uncanny Valley 268 Arts Wellbeing Collective Roadshow 96 La Petite Mort 272 Lamine Sonko and The African Intelligence: Afro Empire 100 The Great Australian Disclaimer (I’m not racist but...) 276 The Colour of Fire 104 A Prudent Man 280 Dave Arden Gunditjmara/Kokatha Songman, Storyteller 108 Showcase Onstage Dating 284 A Taste of Africa 112 Mother’s Ruin: A Cabaret about Gin 288 SPECIAL THANKS TO THE MALTHOUSE THEATRE Fragile Matter 116 Retro Futurismus 292 FOR HOSTING SHOWCASE VICTORIA 2017 Cheek to Cheek - A Tribute to Fred Astaire and Ginger 120 Rogers Pavarotti - King of the High C’s 124 Uptown Girls - The Songs of Billy Joel 128 You’re My World - The Cilla Black Story 132 The Wine Bluffs 136 Tink Tank 140 The Owl & the Pussycat 144 Bethan Ellsmore is Queen of the Night 148 Doll by Babushka 152 Music for Victoria 156 The Christmas Belle 160 Gina Hogan - A Country Girl at Heart 164 The World Kitchen 168 God Bless America 172

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WELCOME

Anita Posterino – Front of House Manager SHOWCASE VICTORIA 2017 DELEGATES The Showcase Victoria Executive welcomes you to Showcase SPECIAL THANKS TO – Catering AND PROGRAMMING SURVEY Victoria 2017! We hope you enjoy an action-packed two days Showcase Victoria 2017 Selection Panel Your feedback is critical in providing the best possible of connecting, conversing and of course experiencing a unique Murray Pitman - Coopers Malthouse Café outcomes from Showcase Victoria 2017 for all range of works from some of Victoria’s (and Australia’s) best Antonette Zema, Arts and Culture Development Manager, industry stakeholders. producers. Here’s to the touring shows of the future! Mildura Rural City Council Event Staff There are three sections in this year’s survey - Tony Smith, Independent Executive Producer Lucy Johnson – Professional Development Volunteer PRESENTERS ONLY: which shows are you interested in JENNY RYSSENBEEK Robyn Till, Coordinator, Arts & Culture Unit, programming from Showcase Victoria 2017? Macedon Ranges Shire Council Letesha Stephens - Professional Development Volunteer Executive Director We suggest you sit down with your team and work out your Victorian Association of Graeme Russell, Theatre Manager, Samantha Urquijo Garcia – Professional Development Volunteer programming choices prior to completing this section, with Her Majesty’s Theatre, Ballarat the Showcase Victoria program in front of you, as the format Performing Arts Centres Corey Reynolds – Professional Development Volunteer follows the order of the shows in the program. Stephen Henderson, Venue & Event Coordinator, Joanne Davis – Professional Development Volunteer The Capital, Bendigo PROGRAM PARTICIPANTS ONLY: help us evaluate the Margaret Bourke, Program Manager, Celia Handscombe – Professional Development Volunteer application process and level of support offered to producers participating in the 2017 program JUSTIN MURPHY Geelong Performing Arts Centre Rosie Dwyer – Regional Arts Victoria ALL ATTENDEES: Rate your overall experience at Showcase Director of Programming Rebecca Bennell, Team Leader, The Cube, Wodonga Carolyn Lambert – Regional Arts Victoria Regional Arts Victoria Victoria 2017 Matthew Pope, Cultural Facilities Coordinator, Pippin Davies – Regional Arts Victoria The Clocktower Centre Tips to Survey Satisfaction: Will McRostie – Regional Arts Victoria Mik Frawley, Manager, Lighthouse Theatre, Warrnambool Open the survey before the event! Have a good look through Suzi Cordell – Regional Arts Victoria and familiarise yourself with the format and what you will need INTRODUCING… Jessie Deane, Venues Coordinator, Hobsons Bay City Council to think about during and after the event. MC, CHRISTINE DUNSTAN Jenny Ryssenbeek, Executive Director, Victorian Association Have your Showcase Victoria Program handy and make sure of Performing Arts Centres Touring Forum Panelists Christine Dunstan has spent more than 50 you’ve pre-selected all the shows you’d like to express interest years working in the Australian theatre Justin Murphy, Director of Programming Viv Rosman – Polyglot Theatre in before you do the final survey. industry and is one of the country’s most Regional Arts Victoria Penny Hargrave – Wangaratta PAC With all the information handy, the survey will take no more experienced independent theatre producers. than 25 minutes to complete. There is a save and return Her vast experience has covered all facets of Luke Harriman – ArTour function if you need to use it. the theatre: as a stage manager, production Showcase Victoria 2017 Team Ben Graetz – ILBIJERRI Theatre Company manager, general manager, lighting designer, Jenny Ryssenbeek – Director, Victorian Association of creative producer and presenter. She was Performing Arts Centres Andrew Donovan – Australia Council for the Arts Production Manager for the Sydney Theatre Company for its first five years, and Director Justin Murphy – Director of Programming of the Araluen Centre in Alice Springs for Regional Arts Victoria Industry Updates ACCESS THE SURVEY HERE: three years. In 1993 she founded Christine Gemma Robertson – Showcase Victoria Coordinator Dunstan Productions, and later CDP Theatre Anne-Marie Heath – President, Australian Performing Arts HTTPS://WWW.SURVEYMONKEY.COM/R/ Producers. Christine’s work has won many Matthew Schroeders – Technical Manager Centres Association SHOWCASEVICTORIA2017 awards, the highlight of which was the 2015 Ella Bucovaz – Regional Arts Victoria Sydney Theatre Critics Lifetime Achievement Award. Samantha Butterworth – Regional Arts Victoria Welcome to Country SURVEYS WILL CLOSE ON THURSDAY 8 JUNE. TOURING FORUM FACILITATOR, Dale Packard –Regional Arts Victoria Gheran Steel - Boon Wurrung Foundation THE RESULTS WILL BE COMPILED AND SHARED AS JONATHAN HOLLOWAY QUICKLY AS POSSIBLE BUT PLEASE ALLOW AT LEAST FOUR DAYS. Jonathan Holloway is currently artistic Facilitators director of Melbourne International Arts Event Photographer Festival, following four years leading the Christine Dunstan – Event MC Lee Sandwith ACCESS THE ATTENDEE LIST, PRESENTER PROFILES AND Perth International Arts Festival. Jonathan Holloway – Touring Forum Facilitator EVENT MAPS & INFORMATION HERE: Previously he has worked as a theatre director, producer and writer, was founding Program Design HTTP://WWW.SHOWCASEVICTORIA.COM.AU/ Malthouse Staff INFOFORDELEGATES/ artistic director of Watch This Space Good One Graphic Design Festival for London’s National Theatre, and Aaron Rowlands – Venue Manager was artistic director and chief executive of the Norfolk & Norwich Festival. Dexter Varley – Operations Manager ACCA Staff Baird McKenna – Technical Manager Kate Long Mark Anderson – Head Technician Kim Brocket Ivan Smith – Venue Head Mechanist And many thanks to Creative Victoria for their ongoing support Nathanael Bristow – Theatre Technician of the event!

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PROGRAM 2017

SHOWCASE VICTORIA 31 MAY & 1 JUNE 2017 MALTHOUSE THEATRE FOLLOW THE EVENT FEED #SHOWCASEVICTORIA

PROGRAM DAY ONE – MAY 31 PROGRAM DAY TWO – JUNE 1

/ REGISTRATIONS 8:00 AM – 9:00 AM / AFTERNOON TEA 4:00 PM – 4:30 PM / REGISTRATIONS 8:30 AM – 9:00 AM / LUNCH 12:15 PM – 1:15 PM / SESSION 1 9:00 AM – 11:00 AM Welcome to Country / VICTORIAN TOURING FORUM 4:30 PM – 6:30PM / NETWORKING BREAKFAST 9:00 AM – 10:30 AM / SESSION 5 1:15 PM – 2:30 PM Introductions - MC Christine Dunstan Why is Touring Important & What Will It Look Like in Five 3 Speed Crunch Box - Re-Booted! | Dislocate Years? l Facilitated by Jonathan Holloway A Touch of Grace: Shadow Warrior | Phunktional Limited / INSTALLATIONS AND ROVING PROGRAM WHO AM I..? | Catnip Productions Bright World | Critical Stages and Arthur Boats | Polyglot Theatre For Love or Money | Ginger and Tonic / DRINKS, NIBBLES & Macdeth | Company 13 NETWORKING @ ACCA 6:30 PM – 8:30PM Transplant | Such As They Are Uncanny Valley | Emilie Bloom and Nicci Wilks FoRT | Asking for Trouble The Pilgrim | BelloAbril Theatre Company La Petite Mort | Neo Radio

Taxithi - An Australian Odyssey | Sidewing Productions / EXPO @ ACCA 6:30 PM – 8.30 PM The World Kitchen | The Village Festival of New Performance Robot Song | Arena Theatre Company Can You See What We See? | Renae Shadler & Collaborators APACA Update | Anne-Marie Heath Arts Wellbeing Collective Roadshow | Arts Centre Melbourne / ALL PACKED UP PROGRAM / AFTERNOON TEA 2:30 PM – 3:00 PM Trash Test Dummies | Trash Test Dummies Multicultural Arts Victoria Rogue Romantic | Anya Anastasia / MORNING TEA 11:00 AM – 11:30 AM Fragile Matter | Tasdance / SESSION 6 3:00 PM – 4:30 PM Sun Rising, The Songs That Made Memphis | Damon Smith The Great Australian Disclaimer (I’m not racist but...) | Andrew / SESSION 2 11:30 AM – 1:00 PM Winding Road Productions R Kelly Larry Paradiseo and the Fabulous Dame Farrar | NCM Water by Michael Johnson | Michael Johnson The Wine Bluffs | Hey Boss A Prudent Man | Lab Kelpie This is Eden | Emily Goddard & Susie Dee James Taylor: Bittersweet and Low | John Fleming Creative Tink Tank | Bunk Puppets Onstage Dating | Bron Batten Perhaps Hope | Company Here and Now Barry Morgan is Out of This World | Liblab Music Little Black Dress Creatives Mother’s Ruin: A Cabaret about Gin | MILKE Dinosaur Time Machine | Highwire Events and Entertainment Music for Victoria | Melbourne Recital Centre Retro Futurismus | Anni & Maude Davey Oculus Sonic Suite featuring Marita Dyson | The Letter String Gina Hogan / SESSION 4 10:30 AM – 12:15 PM Quartet Australian Booty | Black Honey Company The World Kitchen | The Village Festival of New Performance Blue Love | Shaun Parker & Company / SHOWCASE VICTORIA 2017 CONCLUDES! The Big Tops & Tiny Tots Circus Show | Solid State Circus Pty Ltd God Bless America | Fred Smith Productions Do You Speak Chinese? | Victoria Chiu / Multicultural Arts Victoria Melbourne Chamber Orchestra Regional Touring Season 2018 / LUNCH 1:00 PM – 2:00 PM Prehistoric | Elbow Room Guernica | The Melbourne Ballet Company / SESSION 3 2:00 PM – 4:00 PM Picasso and His Dog | Lemony S Puppet Theatre LAMB | Red Stitch Actors Theatre One and the Other | Batton & Broadway The Very Round Robin | Red Hot Productions Imaginary Architecture | Lara Tumak Play For Australia | Vessel Hallowed Ground | Women Doctors in War | The Shift Theatre The Adventures of Broer and Zus | Eloise Green & Samuel McMahon Songs From The Sun and Moon | Sunset Club Productions A Room of One’s Own by Virginia Woolf | Anna Kennedy and Sentient Theatre Super Amazing Giant Girl | Anna Lumb L’Amante Anglaise OR The Lovers of Viorne | Critical Stages

Dane Simpson - Aborigi-LOL | Dirty Work Comedy **Program subject to change Rust and Bone by Caleb Lewis | Daniel Clarke WWW.SHOWCASEVICTORIA.COM.AU WWW.SHOWCASEVICTORIA.COM.AU 8 2017 SHOWCASE VICTORIA PROGRAM 2017 SHOWCASE VICTORIA PROGRAM 9

Does the show have an N/A A TOUCH OF GRACE: interval, and if so, how long? SHADOW WARRIOR Performance and Performed at: Touring History PHUNKTIONAL LIMITED • Melbourne Fringe Festivale at The Lithuanian club, 18-25 September 2015 Number of People in 2 Touring Party

Touring Personnel Demi Sorono | Performance Artist | Yes Louisa Cox | Touring Coordinator | Yes

Contact Person Louisa Cox /MARKETING AND COMMUNITY ENGAGEMENT Email [email protected] Key Audience and The key audience for this show is young people aged 18-35. Contact Phone 0413 571 103 Marketing Notes Other key audiences include: Organisation Website phunktional.org.au • immigrant/Filipino communities State VIC • hip-hop dance & music audiences

History and Background Phunktional is passionate about creating art for positive social change. • young women For over 10 years Phunktional Ltd. has collaborated with professional artists to creatively This show appeals to young audiences because of the popular culture of hip-hop. The show connect communities and generate positive social change through art. features world-class hip-hop dancing and includes the fun interplay of Demi Sorono and shadows on the screen. Phunktional creates art that engages Australians of all ages. Delivering in-demand workshops and performances across the nation. Touring creative works such as Shadow Warriors provides The show also appeals to the Filipino community, immigrants, and young women because Demi opportunities for youth at risk to reconnect with each other, their wider community and the is all three, and these elements are central to her story. creative arts. Marketing Selling Points Demi Sorono is Australia’s number one female hip-hop dancer. Written by Demi Sorono Demi Sorono is a role model for women, the LGBTI community, the Filipino community and immigrant community. Directed by Gerard Veltre The show features hip-hop and physical theatre, animation by Sebastian Fowler, spoken word Creative Team Demi Sorono (lead performer, writer), Gerard Veltre (director, producer), Julez (music poetry and song, and original music by MC Julez. producer), Sebastian Fowler (graphic animation artist) Clips 1. Touch of Grace: Shadow Warrior promo: https://www.youtube.com/watch?v=FNQsDOnukkU Artform Hip Hop Dance & Theatre 2. Melbourne Fringe promo: https://www.youtube.com/watch?v=kuBsEK3HXH4 Marketing Tagline A powerful one-woman show with Demi Sorono that combines hip-hop with personal storytelling Marketing Materials Please see Phunktional’s listings of A Touch of Grace: Shadow Warrior (links to marketing & community engagement packs, etc.): Synopsis A Touch of Grace: Shadow Warrior is a one-woman show that combines hip-hop elements 1. National Touring Selector: https://touringselector.com/production?p=3042 with personal storytelling. The key artist is dancer Demi Sorono, Australias best female hip-hop 2. ArTour: http://www.artour.com.au/artists/a-touch-of-grace-shadow-warrior break-dancer. 3. NSW Arts on Tour: http://aot2017touring.wixsite.com/a-touch-of-grace2018 The story draws from Demi’s experiences as a child in the Philippines and her moment of insta- celebrity as a contestant on the reality television show ‘So you think you can dance’. Promotional Images https://www.dropbox.com/sh/3kc9lq93ruzqs25/AACNKJg9wqo-dsu6uvLGeydfa?dl=0

Demi explores her roles as a single mother, performer and the duality of the immigrant Community Engagement Phunktional offers the following community engagement activities for venues: experience. Shadow Warrior showcases Demis high level hip hop dance skills and spoken word Activities • Hip-hop dance master classes (for more experienced dancers) poetry and features original songs from MC Julez and high-impact animation by artist Sebastian Fowler. Shadow Warrior speaks about the immigrant experience of a young Australian woman, • Hip-hop dance workshops (for beginners - advanced dancers. Dance workshops can be which continues to be an important part of our contemporary social landscape. It is a warm and offered as women only workshops, or for young people) engaging show, and very accessible. • Post-show Q&A sessions • Women only performances Short Review “Smoke machine clouds announce that shit is about to get real. • Other follow up performances (educational theatre: Love Drunk and/or Who Stole the Sole? The stage is groggy with all the smoke but we can still make out a pair of Puma high-tops. seen by over 300,000 young people nation-wide) They’re navy, well worn and say a great deal about their missing owner: a B-Girl, a dancer of • Other follow up creative arts workshops for youth at risk loyalty, a fierce mess of fearlessness and fucked up, incredible talent. Then she’s there: Demi Sorono. [...]” Emma Dempsey, The Music.com.au Content Warning Yes. Themes include domestic violence and sexual assault Availability 01/02/2018 - 21/12/2018

Duration of show in minutes 60 Not including interval

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/BUDGET AND FEES /NOTES Budget Category Ready to Go - available for one-off performances, no remount required

Remount Cost $

Weekly Fee $

Per-Performance Fee $ 5000

Royalties % 15

Describe your APRA obligations if applicable

Budget notes

/TECHNICAL INFORMATION

Technical Rating D (A, B, C, D,) as per NTS Format

Technical Links https://www.dropbox.com/sh/xf76jc8rpalerr2/AAB68FTB9k0iCQISTtEPYNQNa?dl=0

Theatre Formats Hall (with apron)

Bump‑in Time 4 Bump‑out Time 2

In‑Brief Lighting • Side lights (for dance) Requirements • 1 x Cool Wash and Warm wash behind the Fast Fold Screen (to change the color of the screen like a cyclorama) • 1 x Cool and Warm wash on the stage (lights need to be focused “

In-Brief Audio Requirements Recorded and live Mini Jack into MAC Laptop to run Data Projector and sound for the show Cordless Mike and Stand (hand held)

In-Brief Staging Requirements Minimum stage area: 16 FT wide by 16FT deep Describe your set and construction. Back stage: 12FT for short throw projector How does it sit on stage? Is a fly system required? Any technical (short throw projector, screen, dance space, apron, audience) warnings? Do you require an orchestra pit? Piano? Smoke/ Smoke machine needed. strobe machine etc?

Stage Dimensions MIN. STAGE WIDTH MIN. STAGE DEPTH MIN. STAGE HEIGHT MIN. WING SPACE (metres) (metres) (metres) (metres) 5 5 3.5 1

Venue Crew Requirements LIGHTING CREW SOUND CREW STAGE CREW TOTAL VENUE CREW (hours) (hours) (hours) (hours) 4 4 4 12

Crew Notes

Transport Notes Travel production can travel by plane. Phunktional will provide: • 16FT x 9FT fast fold screen and short throw projector (Mitsubishi 6k .7 lens) • Domestic House Lamp plugged into the lighting desk on a fader • Computer with animation and sound track loaded and cabling for the data projector COSTUME/PROPS: Shoesandclothes,sword

Industry Reference Helen Piscioneri | Mildura Performing Arts Centre | 03 5018 8363 | [email protected]

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Does the show have an NA BRIGHT WORLD interval, and if so, how long? CRITICAL STAGES AND ARTHUR Performance and Venue: Theatreworks Touring History Presenter: Theatreworks Year: 2016 Number of performances: 16

Number of People in 7 Touring Party

History and Background ARTHUR supports emerging artists and works to increase the participation of young people /MARKETING AND COMMUNITY ENGAGEMENT in the performing arts sector, to increase the representation of women and of a multicultural and indigenous Australia on stage, to incorporate regional voices and experiences into their narratives, and to speak to contemporary social issues through their work. Key Audience and The production was on VCE 3 Unit Drama syllabus in 2016, and proved highly successful in Marketing Notes playing to school groups as well as adult audiences in its initial 2016 season. CRITICAL STAGES is one of Australias leading producers of touring theatre. Its brief is to make outstanding independent theatre accessible to audiences everywhere. The company has been Its primary audience is young adults (upper secondary and university students) aged 15-25. The awarded National Touring Status from 2018. work will also appeal to adults of all ages with an interest in Australian history, social justice, indigenous history and rights, Jewish history and new Australian writing. Written by Andrea James and Elise Hearst Marketing Selling Points BRIGHT WORLD is a unique cross-cultural collaboration between a Jewish and Yorta Yorta Directed by Paige Rattray playwright. The production was developed with input from cultural advisors who have expertise in the Koorie and Jewish heritages and traditions. Creative Team CAST Elise Hearst, Andrea James, Kevin Kiernan-Molloy, Shari Sebbens, Guy Simon; DESIGNER Romanie Harper; SOUND DESIGNER/COMPOSER Tom Hogan; LIGHTING DESIGNER Emma BRIGHT WORLD tells the inspiring true story of political activist, William Cooper. Valente; CHOREOGRAPHER Kurt Phelan The writer-performers both have a very personal connection to the work Andrea James is Artform Drama the great-great niece of William Cooper, and Elise Hearst is the granddaughter of Holocaust survivors. Marketing Tagline A genre-bending trip into the heart of our history making. Clips 1. Trailer: https://vimeo.com/203026735/f6fde00b2b Synopsis From Austria to Australia, new Australian play BRIGHT WORLD is a rich cross-cultural 2. Full Video: https://vimeo.com/166284797 (Password: ARTHUR) adventure where Jewish and Indigenous Australian worlds collide. Marketing Materials https://www.dropbox.com/sh/28kuaav8xsoj1ii/AAAUdDC72sZysle237NK-Tcoa?dl=0 1938. Europe burns. Young Jewish lovers Hans and Alice narrowly escape from Nazi-occupied Vienna. Promotional Images https://www.dropbox.com/sh/y3zsl1sw2hoq2n7/AAClbc6ZSuo9yDQnr9nMWTeka?dl=0

Across the world, Australian Indigenous activist William Cooper leads protesters to the front Community Engagement An interactive resource is currently being developed in association with Melbourne University, door of Melbournes German Consulate to protest against Germanys Nazi government. In an Activities and will be available for students to further their understanding of the historical context of admirable act of cross-cultural solidarity with other victims of persecution, Cooper has one the work as well as the development process undertaken to create the work (perfect for both messageÑthe repression of the Jewish people must end. History and Theatre Studies students). Almost eight decades later, two female playwrightsÑone the granddaughter of Hans and Alice Post-show Q &As available. and the other a descendent of CooperÑcome together to explore their diverse, yet strangely intertwined cultural heritages. Writing and performance-making workshops with the writers - ideal for upper secondary school students. From Austria to Australia, from a Deb Ball in Benalla to a Brighton Bat Mitzvah, Bright World is a genre-bending trip into the heart of our history-making. An education kit and the performance script are available as e-publications.

Short Review ”Eye-opening, daring, sobering and even heart-warming, Bright World is one hell of a trip. Zips Content Warning NA along with tight, pacy dialogue, nuanced reversals and suspense. Coupled with Paige Rattray’s awe-inspiring direction, the result is thrilling.” Arts Hub.

Availability 05/02/2018 - 30/06/2019

Duration of show in minutes 80 Not including interval

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/BUDGET AND FEES Crew Notes In addition to the above, the venue will need to supply a Lighting Operator for all Rehearsal & Performance Calls, as detailed in the Production Schedule (required for 2 hrs per Call) Budget Category Tour Ready - production has completed a premiere season and is now seeking presenters to build a tour and source tour funding, if required. Lighting Crew notes:

Remount Cost $ 39954 BUMP IN Full rig including patch, flash and colour required prior to company in venue. Assist with lighting check, focus and plot during bump-in. 2 crew x 5 hours Weekly Fee $ 17552 PERFORMANCE 1 crew x 3 hours Per-Performance Fee $ BUMP OUT Assist de-rig of producer’s equipment 2 crew x 1 hours Royalties % 14 Sound Crew notes: Describe your APRA Producer has previously obtained APRA clearance for 3 songs used in the production and will BUMP IN Full audio pre-rig required prior to company arrival in venue. Assist with sound check obligations if applicable obtain further licence for usage once future touring dates confirmed. and sound plot during bump-in. 1 crew x 2 hours Budget notes BUMP OUT Not required Staging Crew notes: /TECHNICAL INFORMATION BUMP IN Assist with unloading truck and set assembly. 2 crew x 4 hours BUMP OUT Assist with disassembly of set and loading truck 2 crew x 2 hours Technical Rating C (A, B, C, D,) as per NTS Format Transport Notes 3 tonne truck

Technical Links Industry Reference Daniel Clarke | Arts Centre Melbourne | 03 9281 8966 | [email protected]

Theatre Formats Proscenium Arch, Black Box, Thrust, Flat Floor, Hall

Bump‑in Time 8 Bump‑out Time 2 /NOTES

In‑Brief Lighting Critical Stages will design lighting specifically for touring, incorporating generic fixtures, Requirements multiple coloured washes and specials, based on touring venues’ standard stock. An ETC Ion Lighting Desk (or similar) will tour with the production.

In-Brief Audio Requirements Standard PA. Critical Stages will design sound requirements for touring based on venues’ standard stock and set-up. We will provide a laptop with Qlab and audio interface to operate the sound.

In-Brief Staging Requirements Describe your set and construction. Stage is set up as a school basketball court. New design will be created for touring to allow for How does it sit on stage? Is a fly multiple venue configurations. There are no technical warnings and the production does not system required? Any technical require a fly system or orchestra pit. warnings? Do you require an orchestra pit? Piano? Smoke/ strobe machine etc?

Stage Dimensions MIN. STAGE WIDTH MIN. STAGE DEPTH MIN. STAGE HEIGHT MIN. WING SPACE (metres) (metres) (metres) (metres)

Venue Crew Requirements LIGHTING CREW SOUND CREW STAGE CREW TOTAL VENUE CREW (hours) (hours) (hours) (hours) 15 2 12 29

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Does the show have an N/A MACDETH interval, and if so, how long? JAMES PRATT Performance and Presented by the Arts Centre Melbourne Touring History Fairfax Studio Melbourne Arts Centre 2107 Jan19 -21 11am and 2pm shows per session.

Number of People in 5 Touring Party

Organisation Website company13.com.au /MARKETING AND COMMUNITY ENGAGEMENT State VIC Key Audience and Our experience from the Arts centre season is that children ages 8 and up will come with History and Background Company 13 is an Australian devised theatre company all trained in the Jacques Le Coq Marketing Notes parents and grandparents, the show has a very broad appeal which is perfectly matched for tradition of European physical theatre forms - mime, melodrama, greek tragedy, bouffon and a family experience. Parents are interested in introducing their kids to a classic that is fun and clown. Over the last 9 years we have been developing our idiosyncratic ensemble style grown accessible. Children in year 12 at high school have also enjoyed the show as it has common from our synthesis of these forms. ground with their studies in the classics. The show is a great match for teachers and students studying drama and theatre studies in yrs 11 and 12 as the work has particular relevance to their We aim to enliven and provoke audiences: to inspire people to reflect upon their lives. Our work study modules. is absurd, funny, grotesque and dramatic and made in a process that values the seriousness of play. We create theatre that is accessible, unexpected, and celebrates the human condition. Marketing Selling Points The key aspect is that its Shakespeare with a twist. Its a classic tale that is easy to watch and understand. Its funny, and comedy is popular and it sells. Its theme of power corrupting are Written by Company 13 highly relevant to todays environment and the show provides an entertaining way to talk about Directed by James Pratt and educate the young audience about these issues. Its and Australian original work that offers a unique theatrical experience. Creative Team Christian Bagin - Macbeth/witch Fiona Roake - Lady Macbeth/witch/assassin John Forman King Duncan/witch/Macduff Aurora Kurth Banquo/witch/Lady Macduff Not only should venues promote the work to families, parents and grand-parents but to schools and specifically drama teachers and drama groups. Artform Family Clips 1. https://www.dropbox.com/s/i5cz9kiezhmmfhf/MACDETH%202min%20HIGHLIGHTS_1. Marketing Tagline A funny, cautionary, fake-bloody tale with Shakespeares rich language and a good dose of mp4?dl=0 invention. 2. https://www.dropbox.com/s/9us1k0edipfrqar/MACDETH%20FULL.mp4?dl=0

dfghjcfgjc Synopsis With the assistance of the Arts Centre Melbourne ‘Macdeth’ was developed through 3 Marketing Materials 1. http://www.stagewhispers.com.au/reviews/macdeth development periods over 2 years incorporating test showings and feedback sessions. Our challenge was to make a Macbeth that was funny, stupid, dramatic and accessible: to engage 2. https://www.dropbox.com/sh/3h02wmm7u2ti64u/AADd_1X6LQv1qHbtHr5-hRkta?dl=0 kids with this classic tragedy of greed and avarice that was fresh and surprising. Promotional Images https://www.dropbox.com/sh/wu1tuequy392900/AAAC8EtBQq5g6beDxTd7ig1ua?dl=0 The show blends clown style idiocy with chorus ensemble work and the traditional dramatic. The dramaturgy is filmic and fast-paced, keying into the speed with which a modern audience Community Engagement All the company are skilled in teaching and facilitating workshops. The company could can decipher narrative. We have well-rounded characters that are funny, murderous and fragile: Activities specifically run workshops for local theatre makers that examines and gives hands on that you end up cheering for and against, loving and hating. At times we directly address experience around the adaptation of a narrative using a devising process. The company could the audience and at other times we play in the classic fourth wall tradition, bringing dynamic run workshops for actors on the specific theatrical styles used in the show; clown, grotesque, changes in rhythm and energy to the work. Underpinning all this, like a film score, live music is ensemble and naturalism. The company would be well placed to also design and deliver a played onstage by the actors.The show strikes an balance between the Shakespearean text and targeted workshop and Q an A to high school theatre students that specifically addresses their our own.We were conscious of engaging the parents and grandparents in the audience. From study needs in regards to VCE. our recent Arts Centre Melbourne season we have received overwhelming feedback that we Content Warning No have achieved this.

Short Review This work is memorable because of the witty energetic, beautifully timed way it is presented. Banquos ghost is a hysterical figure in a sheet. The witches dissect a cat rather than stir a cauldron. There is blood and guts aplenty - created through mime and acutely imagined by performers and presumably the youthful audience. It is the perfect ticket for children of eight and older.

Availability 01/08/2017 - 01/12/2018

Duration of show in minutes 65 Not including interval

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/BUDGET AND FEES /NOTES

Budget Category Tour Ready - production has completed a premiere season and is now seeking presenters to build a tour and source tour funding, if required.

Remount Cost $ 3040

Weekly Fee $ 6125

Per-Performance Fee $

Royalties %

Describe your APRA obligations if applicable

Budget notes

/TECHNICAL INFORMATION

Technical Rating C (A, B, C, D,) as per NTS Format

Technical Links https://www.dropbox.com/sh/1ipsdvo3axh794k/AACxfizqAqp0HLTrOMgQ0IkSa?dl=0

Theatre Formats Flat Floor with raked seating

Bump‑in Time 6 Bump‑out Time 2

In‑Brief Lighting Please refer to the dropbox link for tech specs. Requirements

In-Brief Audio Requirements 2 microphones 1 DI Smoke machine Hazer

In-Brief Staging Requirements Three flats are placed along the upstage of the playing area at least 1.5 metres from back of Describe your set and construction. How does it sit on stage? Is a fly stage approx 1.5 apart. O.P side of stage, on stage is a table for music instruments. A smoke system required? Any technical machine is placed prompt up stage. A table on wheels is placed upstage left. Wings upstage left warnings? Do you require an and right are needed for exits and entrances. orchestra pit? Piano? Smoke/ strobe machine etc?

Stage Dimensions MIN. STAGE WIDTH MIN. STAGE DEPTH MIN. STAGE HEIGHT MIN. WING SPACE (metres) (metres) (metres) (metres) 8 8 4 2

Venue Crew Requirements LIGHTING CREW SOUND CREW STAGE CREW TOTAL VENUE CREW (hours) (hours) (hours) (hours) 10 6 10 26

Crew Notes The show requires one lighting technician to operate the lights. We are assuming the venue would have the rig prepared based on our technical specs. The live sound of the instruments needs slight amplification, the technical aspects of this are relatively simple. The venue may have a separate sound technician to set up, or the lighting tech with basic sound skills would be suitable to set up the sound. There are no audio cues for the show, all music and sound is live.

Transport Notes A one tonne ‘hi ace’ van would be required to transport set, props and instruments and two of the tour party. An additional small car would be required for the other tour party.

Industry Reference Ebony Bott | Arts Centre Melbourne | 03 9281 8767 | [email protected]

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FoRT /MARKETING AND COMMUNITY ENGAGEMENT Key Audience and Primary Schools - Teachers notes and relevant curriculum links Marketing Notes ASKING FOR TROUBLE Families - Asking for Trouble have a proven track record of delivering shows that are enjoyed by the whole family.

Marketing Selling Points Marketing to parents nostalgia! Highlighting circus/physical elements. Most people have memories and experience building their own cubbies, forts and sandcastles, we suggest a foyer cubby building activity (simple cardboard boxes, tape etc) prior to the performance - (similar activities were extremely successful alongside our Bubblewrap & Boxes tours). Contact Person Luke O'Connor Cubby building ‘competitions via social media to resulting in ticket giveaways etc.

Email [email protected] People to market to are: Families, Children, fans of Dora the Explorer, Squishy Taylor, MacGuyver, Swiss Family Robinson. Contact Phone 0423 939 965 Clips FoRT Promo- https://vimeo.com/180666326 Organisation Website askingfortrouble.com.au FoRT Full Show - https://www.youtube.com/watch?v=mBKfsquwP1U&feature=youtu.be State VIC FoRT Timelapse - https://www.youtube.com/watch?v=C0yGzem_eqU&feature=youtu.be History and Background Founded by Christy Flaws and Luke OConnor, Asking for Trouble makes theatre that challenges Marketing Materials https://www.dropbox.com/sh/wef4ianrcp2gumu/AAAcGWE5TeHA4HJlwvg0Lee-a?dl=0 audiences to be brave, playful and generous. A multi-award winning company that uses circus, physical theatre and clown to make ambitious, high quality, touring work for young people and Promotional Images https://www.dropbox.com/sh/wef4ianrcp2gumu/AAAcGWE5TeHA4HJlwvg0Lee-a?dl=0 their families. Based in Clunes, Asking for Trouble have strong relationships in regional Victoria and have performed seasons in Melbourne, Sydney, Adelaide, Perth, regional Australia, The Community Engagement Both Luke and Christy are exceptional workshop facilitators with over 12 years experience each. Netherlands, New Zealand and the UK. Activities They can tailor workshops to suit a large range of participants including: Written by Asking for Trouble • Primary aged student Directed by Asking for Trouble • Secondary aged students • PD’s for teachers, artists and social workers who work with youth Creative Team Luke O'Connor- Performer, Christy Flaws- Performer • Masterclasses for professional performers Artform Family Workshop content can focus on Circus Skill Development, Physical Movement for non Dancers, Marketing Tagline Spectacular acrobatics & poetic visual imagery, celebrating imagination & adventure. Devising (Acts and Shows), Ensemble Physical Theatre, Improvisation (Body, Voice and Story) and Clown (for beginners). Synopsis Two strange characters appear hunting for whispers of adventure. In a series of vignettes a Education kits available couch, table, cushions, sheets and broomsticks transform into rockets, trampolines, cliffs and tents places to explore. Images appear and disappear. FoRT is full of ridiculous clowning, Content Warning No spectacular acrobatics, poetic visual imagery and celebrates the kind of creative genius that has been known to turn lounge rooms into volcanoes, trees into castles and cardboard boxes into racing cars. /BUDGET AND FEES Short Review “Can’t tell you how excited we are to have FoRT touring next year - every kid in Victoria should see this brilliant show.” Suzi Cordell, RAV Education & Families Budget Category Tour Ready - production has completed a premiere season and is now seeking presenters to build a tour and source tour funding, if required. Availability 01/03/2018 - 15/12/2019 Remount Cost $ 2000 Duration of show in minutes 50 Not including interval Weekly Fee $ 9000

Does the show have an Per-Performance Fee $ N/A interval, and if so, how long? Royalties % Performance and Art Is Festival- Horsham Town Hall- 2 Shows Describe your APRA Touring History Adelaide Fringe 2017- Garden of Unearthly Delights- 4 Shows (Upcoming) obligations if applicable

Number of People in Budget notes 3 Touring Party

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/TECHNICAL INFORMATION /NOTES

Technical Rating C (A, B, C, D,) as per NTS Format

Technical Links

Theatre Formats Procenium arch, Black Box, Flat floor, Hall

Bump‑in Time 3 Bump‑out Time 1

In‑Brief Lighting Lighting design currently in development. We know it will be fairly simple and should fit most Requirements standard rigs. We can supply our own lighting for satellite style touring to small halls etc.

In-Brief Audio Requirements Standard in house SND system appropriate to venue size with input for laptop. Foldback. We can supply our own sound system for satellite style touring to small halls etc.

In-Brief Staging Requirements Describe your set and construction. The set is a collection of everyday household objects and furniture which are rearranged How does it sit on stage? Is a fly multiple times throughout the the show. 1 couch, 3 chairs, 1 ironing board, 1 coffee table, brooms system required? Any technical and mops, 2 buckets etc. warnings? Do you require an orchestra pit? Piano? Smoke/ strobe machine etc?

Stage Dimensions MIN. STAGE WIDTH MIN. STAGE DEPTH MIN. STAGE HEIGHT MIN. WING SPACE (metres) (metres) (metres) (metres) 5 5 4.5

Venue Crew Requirements LIGHTING CREW SOUND CREW STAGE CREW TOTAL VENUE CREW (hours) (hours) (hours) (hours) 5 5

Crew Notes As we will be traveling with a Tech/ SM we really only need one crew supplied by the venue. The main work will be to focus, plot and operate the lighting and turning on the sound desk for our tech. Our team will unload all set and props from the tour vehicle.

Transport Notes 1 tonne van (3 seater)

Industry Reference Suzi Cordell | Regional Arts Victoria | 03 9644 1805 | [email protected]

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/MARKETING AND COMMUNITY ENGAGEMENT

Contact Person Michael Robinson Key Audience and Taxithi has sold over four thousand tickets to date. Our main audience was made up of women, Email [email protected] Marketing Notes migrants and first generation migrants of several different nationalities as the piece is universal in it’s themes, people who enjoy live music also came in great numbers. Contact Phone 0404 050 311 Maria Mercedes is also a very well known Australian artist who has graced stage and scene Organisation Website sidewing.com.au since the early seventies, she had a large fan base of her very own.

State VIC Marketing Selling Points Taxithi is based on a collection of true stories of real people, the stories of migrants will appeal to all cultures and those people who are interested in the migrant experience. History and Background Sidewing Productions in a new enterprise that brings together over 20 years of production experience. Our team have worked on a huge array of varying productions and we have The unusual combination of bouzouki, piano and three part harmony singing, the beautiful developed a real passion for bringing thoughtful and meaning theatre to the people. passionate heartfelt music. Breathtaking projected images incorporating nostalgic images and haunting text. Written by Helen Yetis-Patterson The exquisite dramatic vocal performances Directed by Petra Kalive The deep and resonant emotional impact on an audience. Creative Team Cast - Maria Mercedes, Helen Yotis Patterson, Artemis Ioniddes. Musical Director - Andrew Patterson. Musician - Jacob Papadopoulos. Lighting Designer - John Ford, Sound Designer - Clips Short video - https://youtu.be/05TIMZ_b9Ag Darius Kedros, AV Designer - Andre Vanderwert, Stage Manager - Christa Jonathan, Production Whole show - https://youtu.be/2cVS1WVFTjg” Manager- Michael Robinson Marketing Materials Artform Music Theatre Promotional Images https://www.dropbox.com/sh/oi5tifo6n6dzhu0/AABsflwuFlSFgCwfXIsUzP98a?dl=0 Marketing Tagline Taxithi celebrates the untold stories of women who migrated from Greece during the 50's & 60's Community Engagement Activities Synopsis ”Taxithi” (the Greek word for journey) celebrates the untold stories of women who migrated from Greece to Australia in the 1950s and 60s. Filled with the poignant memories and Content Warning No passionate music of their homeland, these true stories resonate with the strength of the women who made new lives, creating an indelible impression on a faraway country. The writer (Helen Yotis Patterson) interviewed approximately twenty women about why they /BUDGET AND FEES left, their long journey here and what happened to them after they arrived. She distilled these stories into ten unforgettable characters. These are stories of love, sacrifice and courage, Budget Category Tour Ready - production has completed a premiere season and is now seeking presenters to rushing brashly at the future and clinging with hope and sadness to the past. These are the build a tour and source tour funding, if required. stories that have helped shape who we are today. Remount Cost $ 9339 Short Review “A moving tribute to the courage and resilience of migrants, and an open road into the Greek soul” Cameron Woodhead, The Age Weekly Fee $ 15719

Availability 01/06/2017 - 30/12/2018 Per-Performance Fee $

Duration of show in minutes Royalties % 15 75 Not including interval Describe your APRA Does the show have an obligations if applicable N/A interval, and if so, how long? Budget notes This weekly figure don’t not cover accommodation, per diems and estimated fight costs and Performance and Taxithi was originally performed 2 shows at the Hellenic Museum in a concert format to crowds daily travel to the venue. Touring History of over 350 people on in March 2015. It then ran for two seasons (the first a sell out with two extensions on the season) in march/April 2016 and then again in August 2016 at 45downstairs. The first season was 26 performances and the second was for 11.

Number of People in 8 Touring Party

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/TECHNICAL INFORMATION /NOTES

Technical Rating C (A, B, C, D,) as per NTS Format

Technical Links

Theatre Formats Flexible

Bump‑in Time 4 Bump‑out Time 4

In‑Brief Lighting Requirements

In-Brief Audio Requirements 2 microphones, one each for the piano (will need to be provided by venue) and one for the bouzouki. 3 head set radio microphones will be needed for the performers

In-Brief Staging Requirements Describe your set and construction. How does it sit on stage? Is a fly Set is very simple, three hung clothes, three chairs and a suitcase. system required? Any technical warnings? Do you require an orchestra pit? Piano? Smoke/ strobe machine etc?

Stage Dimensions MIN. STAGE WIDTH MIN. STAGE DEPTH MIN. STAGE HEIGHT MIN. WING SPACE (metres) (metres) (metres) (metres) 5 5

Venue Crew Requirements LIGHTING CREW SOUND CREW STAGE CREW TOTAL VENUE CREW (hours) (hours) (hours) (hours) 1 1

Crew Notes We will provide a stage manager to call the show and control lights but will require the venue to provide an audio engineer to mix.

Transport Notes The production can be flown and will require transport to and from the venue each day.

Industry Reference Clare Springett | Darebin Arts and Entertainment Centre | 03 8470 8272 | clare.springett@ darebin.vic.gov.au

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Does the show have an N/A ROBOT SONG interval, and if so, how long?

Performance and ARENA THEATRE COMPANY Robot Song will be developed in 2017 for premiere season and touring in 2018. Touring History

Number of People in 3 Touring Party

Contact Person Shea Sutton

Email [email protected] /MARKETING AND COMMUNITY ENGAGEMENT

Contact Phone 0401 823 299 Key Audience and Robot Song is for the whole family with a target audience aged 8 -12. Incorporating Marketing Notes groundbreaking live animation technology Robot Song will see digital characters interact in- Organisation Website arenatheatre.com.au real-time with audiences. State VIC Robot Song enables young people to celebrate and discuss their own experiences of difference. The work also investigates the complex nature of modern parenting. History and Background For over 50 years Arena Theatre Company has been powered by the twin drivers of art and audience: creating inspiring live performance known for genuine engagement with young Robot Songs themes of personal empowerment and inclusion will appeal to educators. people aged 5 25. Arena presents performances at major arts centres, international festivals, regional arts centres, local festivals and schools. Arena has an impeccable company track record for touring high quality theatre productions for young people, with established audiences nationally. Arena has recently increased our focus on creating high-quality mobile works specifically designed to tour. Recent works include Sunny Ray and the Magnificent Moon (Sydney Festival, Marketing Selling Points 1. In featuring a character on the Autism Spectrum, Robot Song provides a rare opportunity AWESOME Festival) Cautionary Tales for Children (Sydney Opera House, Melbourne Comedy for young people and their families within the neuro diverse community to see a story and Festival) character on stage that they can relate to. Arena will develop a relaxed performance and social story to cater for the additional needs of this community. Written by Jolyon James 2. Robot Song is technically ambitious, seamlessly incorporating live animation which will enable Directed by Jolyon James digital characters to move and respond instantly to any audience request, creating an integral live component that will fascinate our audience. Creative Team Director/Writer -Jolyon James, Assistant Director Christian Leavesley, Composer/Musical Director Nathan Gilkes, Script Consultant Ant Crowley Clips Sunny Ray and the Magnificent Moon - Trailer. https://vimeo.com/179001494 Artform Childrens Marlin - Trailer Marketing Tagline A smart young girl befriends a discarded robot and together they find their true voice. https://vimeo.com/112746442

Synopsis When it comes to friends, Juniper has no idea what all the fuss is about in fact when classmates Marketing Materials Arena will prepare a suit of marketing materials as Robot Song develops including: tease her for being like a robot she takes it as a compliment.Through the unconventional eyes • Promotional trailer of a child on the Autism Spectrum, Robot Song takes the audience on an incredible ride of • folio of marketing and production images personal discovery. • full archival recording Robot Song introduces us to Juniper, a smart 11-year-old whose world is turned upside down • press release when the arm of a giant robot appears on her doorstep and takes her on an unexpected journey to find the rest of its body. Surprised by the robot’s revelation that it has only ever wanted to • poster & flyer templates sing, Juniper learns flexibility and unexpected outcomes are sometimes exactly what you need. • reviews (as available) Robot Song is drawn from writer/director Jolyon James’ experience raising a child on the • audio files of songs Autism Spectrum. In celebrating Junipers unique way of interpreting the world Robot Song • behind the scenes images and videos provides a window for all young people to recognise and embrace the differences within • interviews with cast and creatives themselves and others. Arena will offer marketing support through all Company social media channels as well as direct Robot Songembeds cutting edge digital technology within live performance. Arena has piloted mailing lists. use of live animation over the last two years through our workshop program, Robot Song is the culmination of this work. Promotional Images https://www.dropbox.com/sh/e971lypujxriy80/AAB5-LpMgNdMnHb40UqykX1pa?dl=0

Short Review On Sunny Ray and the Magnificent Moon - “Star-spangled theatre rock party.” Sydney Morning Herald

Availability 01/01/2018 - 31/12/2019

Duration of show in minutes 60 Not including interval

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Community Engagement In conjunction with Robot Song Arena will develop: Venue Crew Requirements LIGHTING CREW SOUND CREW STAGE CREW TOTAL VENUE CREW Activities • a schools workshop based on our already successful workshop model, in which students use (hours) (hours) (hours) (hours) new technologies to investigate ideas of digital performance and explore themes related to 0 productions. • Comprehensive teaching notes Crew Notes As Robot Song is in-development exact crew requirements are still to be confirmed however as a touring production Arena aims to keep additional crew requirements to a minimum. The • Post show Q&A with performers production will tour with a stage manager/operator. • Social story for audiences on the autism spectrum in preparation for relaxed performances Transport Notes The set will be small and designed to travel easily in a van. Arena also encourages presenters to talk to us about any other accessibility requirements.” Industry Reference Ebony Bott | Arts Centre Melbourne | 03 9281 8767 | [email protected] Content Warning No

/NOTES /BUDGET AND FEES

Budget Category In Development - work which will be produced and premiered in time for touring during 2018/19

Remount Cost $ 5000

Weekly Fee $ 13000

Per-Performance Fee $

Royalties % 14

Describe your APRA obligations if applicable

Budget notes As Robot Song is a work-in-development costs are yet to be confirmed.

/TECHNICAL INFORMATION

Technical Rating C (A, B, C, D,) as per NTS Format

Technical Links

Theatre Formats Robot Song will be designed with touring in mind. It will be completely adaptable and can be performed in a Spiegeltent, black box space or a proscenium arch theatre. It will also be well suited to festival programming.

Bump‑in Time 4 Bump‑out Time 2

In‑Brief Lighting Robot Song is in-development in 2017 and will be designed for touring. The lighting design is Requirements intended to be flexible and suit a broad range of presentation contexts. The production will tour with a stage manager/operator.

In-Brief Audio Requirements Robot Song is in-development in 2017 and will be designed for touring. The audio design is intended to be flexible and suit a broad range of presentation contexts. The production will tour with a stage manager/operator.

In-Brief Staging Requirements Describe your set and construction. Robot Song is in-development in 2017 and will be designed for touring. The set design is How does it sit on stage? Is a fly intended to be small, flexible and suit a broad range of presentation contexts. The production system required? Any technical will tour with a stage manager/operator. warnings? Do you require an orchestra pit? Piano? Smoke/ strobe machine etc?

Stage Dimensions MIN. STAGE WIDTH MIN. STAGE DEPTH MIN. STAGE HEIGHT MIN. WING SPACE (metres) (metres) (metres) (metres) TBC TBC TBC TBC

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Duration of show in minutes LARRY PARADISEO 60 - 90 Not including interval

AND THE FABULOUS Does the show have an Yes - 20 DAME FARRAR interval, and if so, how long? Performance and • Galleon Cafe - MICF 2015 NCM Touring History • Judith Wright Centre 2015 • Glitter Festival - Gold Coast Arts Centre 2015 • Keppel Coast Arts Centre 2015 • Ipswich Civic Centre 2015 Contact Person Nic Clark • Woodford Folk Festival 2015 • Melbourne Fringe Festival 2016 Email [email protected] • Ballarat Cabaret Festival 2016 Contact Phone 0422 863 692 Number of People in 2 Organisation Website nicholasclarkmanagement.com Touring Party

State VIC Touring Personnel Carita Farrer Spencer | Larry and the Dame | Yes Kym Dillon or Steve Russell | Pianist | Yes History and Background Carita Farrer Spencer is a performer with a wealth of experience and talent, most recently performing in sell-out seasons of the new hit Australian Musical LADIES IN BLACK (music by Tim Finn) for both Queensland Theatre Co & Melbourne Theatre Co. She is synonymous with her comedic one-woman musical extravaganzas and is known for her hilarious characters, as much /MARKETING AND COMMUNITY ENGAGEMENT as she is for her incredible vocals. Hers is a unique performance style that has been described as Key Audience and This show is the perfect mix of theatrical cabaret, stand up comedy and live music, which “An outrageous combination of Shirley Bassey & Dawn French.” - BRISBANE NEWS MAGAZINE Marketing Notes attracts an extremely broad demographic and maximises audience development. This show is a guaranteed crowd pleaser! • lovers of cabaret, comedy, music and/or theatre • patrons aged 18 to the grave Written by Carita Farrer Spencer • social groups / parties / special events Directed by Carita Farrer Spencer • students of cabaret, music, theatre Creative Team Written and Performed by: Carita Farrer Spencer Pianist: Kym Dillon or Steve Russell LX design: • Fans of comedy, music, cabaret & misbehaviour Lisa Mibus This show has a history of very strong Bar Sales and is highly suited to patrons bringing drinks Artform Cabaret into the theatre. Why not try a Dame Farrar inspired cocktail to boost those profit margins?”

Marketing Tagline A hilarious One-Woman Cabaret on Steroids! Marketing Selling Points One Woman. Two Genders. Synopsis In this world-class DOUBLE ACT (with herself) Great Voice, comedy and music CARITA FARRER SPENCERbrings you her two brilliant gender bent alter-egos in one side- splitting night of outstanding music and laughter. One hilarious Double Bill (with herself)

ACT ONE - Meet The Fabulous Dame Farrar and celebrate the glory and disaster of this Clips https://www.youtube.com/watch?v=X6IQhfvDMb0 superbly talented Diva, and disgraceful lush. Fuelled by her penchant for Gin Martinis, shes bound to go off like a frog in a sock. (INTERVAL) https://www.youtube.com/results?search_query=carita+farrer+spencer ACT TWO - Hold on tight, its Larry Paradiseo! International sex symbol and Vegas showbiz God. Marketing Materials https://www.dropbox.com/sh/06wzra36p7wgpx2/AAC_a77-Aicn-jpjYVrD03fNa?dl=0 Hes got more moves than Mick Jagger, and a way with the ladies that makes Tom Jones look limp. Larry has a BIGGER voice, a BIGGER presence and a BIGGERÉ repertoire. Promotional Images https://www.dropbox.com/sh/k6dqmvdljmt6wrw/AAA3RxThEBFB41Xw8s0esvUta?dl=0 This show has been designed for touring ease and portability and consists of only 2 performers, Community Engagement We offer Cabaret Workshops / Masterclass for community members and students for an no sets and extremely minimal costumes and props. For such a simple show logistically, it Activities additional cost. delivers an enormous old fashioned entertainment punch. Choose from the following options: Short Review CARITA FARRER SPENCER, the woman behind this deliciously wicked double-bill cabaret, is a • Childrens workshop (ages 7+) truly outstanding performer - XS ENTERTAINMENT • Adult masterclass (ages 13+) Carita Farrer Spencer is a true talent, bringing both characters to life with a sense of realness PROMO MATERIALS AVAILABLE ON REQUEST and fantastic comic timing - MELBOURNE OBSERVER Content Warning Yes Larry Paradiseo makes Barry Humphries Sir Les Patterson seem like the president of the Melbourne Club - CRIKEY Occasional use of strong language, adult themes Rating ”M” - 15+ accompanied by adult

Availability 01/07/2017 - 31/12/2019

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/BUDGET AND FEES /NOTES Budget Category Ready to Go - available for one-off performances, no remount required

Remount Cost $

Weekly Fee $

Per-Performance Fee $ 2750

Royalties % 12

Describe your APRA obligations if applicable

Budget notes

/TECHNICAL INFORMATION

Technical Rating C (A, B, C, D,) as per NTS Format

Technical Links https://www.dropbox.com/sh/jmp2cyqdt7vp0ev/AABfhR6sWrfm9hpTAvUKbJJja?dl=0

Theatre Formats Proscenium Arch, Black Box, Thrust, Flat Floor Hall, Band Room, Cabaret, Outdoor Stage

Bump‑in Time 2 Bump‑out Time 1

In‑Brief Lighting The style of lighting required is theatrical cabaret. Requirements The lighting can be adapted to suit a very simple setup in a small pop up venue up to a large theatrical auditorium. Please refer to Tech Specs for details.Please note touring lighting plans are available upon request.

In-Brief Audio Requirements 1x Wireless hand held microphone 1x round base adjustable microphone stand 2x FOH speakers 2x Speaker stands 2x Foldback wedges 1x Sound console DMX and power cables

In-Brief Staging Requirements Describe your set and construction. How does it sit on stage? Is a fly 1x Tuned Piano or Keyboard with suspension pedal (to be agreed upon prior) system required? Any technical warnings? Do you require an orchestra pit? Piano? Smoke/ strobe machine etc?

Stage Dimensions MIN. STAGE WIDTH MIN. STAGE DEPTH MIN. STAGE HEIGHT MIN. WING SPACE (metres) (metres) (metres) (metres) 3 3 4 1

Venue Crew Requirements LIGHTING CREW SOUND CREW STAGE CREW TOTAL VENUE CREW (hours) (hours) (hours) (hours) 3 2 2 7

Crew Notes

Transport Notes Station Wagon and can travel via plane

Industry Reference Graeme Russell | Her Majesty’s Theatre Ballarat | 03 5364 2358 | [email protected]

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Does the show have an N/A THIS IS EDEN interval, and if so, how long? EMILY GODDARD & SUSIE DEE Performance and Following creative developments hosted by Gasworks, LaMama and HotHouse Theatre, This Touring History is Eden premiered at the Butter Factory Theatre, Albury/Wodonga as a 2015 Production in Residence supported by Creative Victoria (7 shows). It has recently finished its sold out Melbourne season produced by Fortyfivedownstairs and supported by Creative Victoria and the Australia Council. (9 shows with extra show added due to popular demand). Both seasons have received critical and audience acclaim.

Number of People in 3 Touring Party

Contact Person Emily Goddard Touring Personnel Emily Goddard | Performer | Yes TBC | Production Manager | No Email [email protected] TBC | Operator | No Contact Phone 0421 271 103 Organisation Website thisiseden.com.au /MARKETING AND COMMUNITY ENGAGEMENT State VIC Key Audience and Our premiere season at Hothouse was a fantastic opportunity to test the appeal of the work History and Background Emily and Susie first worked together on the regional tour of Declan Greenes Moth in 2012. They Marketing Notes within a regional context. We were thrilled with its reception. A playful and provocative take on share a playful and rigorous approach to performance and theatre making, having both trained an under told chapter of Australian history, This is Eden attracted a broad demographic from with Philippe Gaulier. Both Susie and Emily have a passion for new work and are committed to young people and school groups to historians, convict descendants, educators and Hothouse’s investigating contemporary issues through bold form and style. They exist to create works that own varied subscriber base. This wide appeal was reflected again with our recent Melbourne entertain, inspire and challenge the widest possible audiences. season, with audiences as young as 16 and as old as 90 engaging with the work. We have discovered that audiences young and old are hungry for and responsive to historical to content Written by Emily Goddard told in a new way, and are willing to embrace confronting material to engage in debate around our national stories. Directed by Susie Dee Marketing Selling Points The Australian history and genealogy aspects of This is Eden make it hugely appealing for Creative Team Emily Goddard: Writer & Performer, Susie Dee: Director, Romanie Harper: Set & Costume family history enthusiasts, genealogists and historians of which there are many local regional Designer, Ian Moorhead: Sound Designer/Composer, Gina Gascoigne: Lighting Designer, Mark groups and societies to be accessed. Emily’s extensive research into female convict history and Wilson: Dramaturg her own female convict ancestry make for interesting and informative community talks and Artform Drama discussions alongside the show. Contemporary in nature, the work’s unsentimental style with its use of dark clowning also make it a unique theatrical experience that appeals to younger Marketing Tagline An extraordinary tale of rebellion and survival. audiences (16+) and can be easily marketed to schools.

Synopsis This is Eden is a dark, humorous and provocative ‘anti-bonnet drama’ inspired by the rebellion Clips TRAILER: www.thisiseden.com.au/tour and resistance of the female convicts of Van Diemen’s Land. Using the French clowning technique of Bouffon, where outcasts ridicule and provoke those in power, Goddard and Dee Full video available on request. tread a fine line between the grotesque and charming to bring to life an extraordinary tale of Marketing Materials TBC rebellion and survival that has seemingly escaped our nation’s history lesson. Promotional Images https://www.dropbox.com/sh/a64u8kluldw0lh2/AACF1bXUxwFbEniT-Ym8lyNaa?dl=0 1839. Cascades Female Factory, Hobart Town. In a solitary cell, on the edge of survival, a ‘sleek little savage’ waits alone in the darkness. Left for dead, ten thousand miles from home, she plots HERO IMAGE BY ROMANIE HARPER escape and reveals, with biting mockery, the untold tales of her captors. This is Eden is at once an examination of our dark past, a parody of the way we perceive it and a vital call to arms. PRODUCTION IMAGES BY JUSTIN BACHELOR MORE AVAILABLE AT www.thisiseden.com.au/gallery-encore Short Review Four and a half stars - ArtsHub, Four and a half stars- Theatre People Community Engagement Female convict history talks, Q & A sessions and bouffon and clowning workshops can all Activities be offered alongside the work and proved hugely successful at both our HotHouse and Four stars - The Music FortyFive Downstairs seasons. Over 100 people attended a female convict history talk at the Albury Library Museum and school and community groups in Albury and Melbourne enjoyed Four stars - Beat Magazine workshops and post show talks with the artists. “Nauseatingly exquisite…if Broadway World did stars, it’d be a five” Content Warning Yes - Coarse language, adult themes. Suitable for ages 16+ “First class theatre. Compelling, confronting and sure to haunt audiences long after” - The Border Mail, Albury. /BUDGET AND FEES “Goddard is nothing less than extraordinary” - Stage Whispers “As affecting and impressive as anything you will see” - Australian Stage Budget Category Tour Ready - production has completed a premiere season and is now seeking presenters to build a tour and source tour funding, if required. Availability 1/10/2017-31/12/2018 Remount Cost $ 10400 Duration of show in minutes 70 minutes Not including interval

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/NOTES Weekly Fee $ 6600

Per-Performance Fee $

Royalties % 12

Describe your APRA obligations if applicable

Budget notes

/TECHNICAL INFORMATION

Technical Rating C (A, B, C, D,) as per NTS Format

Technical Links

Theatre Formats Designed for tourability. Suitable for Black Box, Proscenium Arch, Flat Floor, Hall etc.

Bump‑in Time 4 Bump‑out Time 2

In‑Brief Lighting See tech specs Requirements

In-Brief Audio Requirements See tech specs

In-Brief Staging This is Eden has been designed to be easily tourable. The set is a solitary cell. There is a Requirements perforated steel rectangular floor (2m wide x 3m deep and 150mm high). In the cell is a steel Describe your set and construction. bed frame, a blanket and two metal buckets. The bed stands on end at one point and acts as a How does it sit on stage? Is a fly ladder that the performer climbs (it is connected to the floor with hinges for safety). 3m above system required? Any technical the floor of the cell a suspended frame echoes the shape of the floor of the cell. This is also steel warnings? Do you require an and hangs from 4 pickup points. The frame is shaped like an upside-down U and houses two orchestra pit? Piano? Smoke/ hose systems, one through which water drips slowly and constantly throughout the show and strobe machine etc? another that is used for a more dramatic effect at only one point in the show. Heavy-duty pool liner is used within the floor piece for water catchment. The floor, bed and suspended frame are all treated in a rusty style scenic finish. Lighting plan and further Tech specs are available.

Stage Dimensions MIN. STAGE WIDTH MIN. STAGE DEPTH MIN. STAGE HEIGHT MIN. WING SPACE (metres) (metres) (metres) (metres) 8 6 5

Venue Crew Requirements LIGHTING CREW SOUND CREW STAGE CREW TOTAL VENUE CREW (hours) (hours) (hours) (hours) 6 6

Crew Notes

Transport Notes 1 Tonne van.

Industry Reference Lyn Wallis | HotHouse Theatre | 02 6021 7433 | [email protected]

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Duration of show in minutes PERHAPS HOPE 55 Not including interval

COMPANY HERE AND NOW Does the show have an N/A interval, and if so, how long?

Performance and Perth Fringeworld 2016 5 Blueroom/Co.Here and Now Touring History Adelaide Fringe 2016 6 Live at Tanderrum/Co.Here and Now Edinburgh Fringe Festival 2016 18 Underbelly Circus Hub/Co.Here and Now Melbourne Fringe Hub 2015 10 Company Here and Now

State VIC /MARKETING AND COMMUNITY ENGAGEMENT History and Background Co. Here And Now is a new collaboration of circus artists. Rockie Stone and Vincent van Berkel bring to the stage a wealth of experience from some of Australia’s foremost contemporary Key Audience and Age 7 to adult circus companies (Circa, Circus Oz, Casus, This Side Up). Marketing Notes Those interested in Contemporary performance, Circus, Physical Theatre, Contemporary Dance; Their beautiful work speaks to audience and artists of all kinds with its ambition, detail, the environment, current politics, climate change uniqueness, breadth of subject matter and style. We have designed “Perhaps Hope” to inhabit small spaces with the intention that it tour to Marketing Selling Points circus, with high level acrobatic skill smaller regional spaces providing a platform for engagement on a very important social issue current global affairs which concern everyone which impacts us all. We have designed “Perhaps Hope” to inhabit small spaces with the intention that it tour to Written by Rockie Stone and Vincent van Berkel smaller regional spaces providing a platform for engagement on Climate Change and its related issues - a very important social issue which impacts us all. We are keen for the work to be Directed by Rockie Stone and Vincent van Berkel utilized as a conversation starter in communities.

Creative Team Rockie Stone - acrobat; Vincent van Berkel - acrobat Clips https://vimeo.com/165174572 - teaser Artform Circus https://vimeo.com/185479320/0277a8a45f - full length copy of Edinburgh season?

Marketing Tagline Exploring the stark reality of climate change in a breathtakingly honest eco-apocalyptic circus Marketing Materials Company media pack - ?https://www.dropbox.com/s/j1bhbrjbru80eez/PTHY%20Company%20 show media%20info%20pack.docx?dl=0 Synopsis Award-winning circus artist Rockie Stone (Fright or Flight, Circa, Circus Oz) returns to the Facebook - https://www.facebook.com/companyhereandnow/?ref=bookmarks stage with her unique style of contemporary circus. This time, teaming up with renown acrobat Press and Reviews - https://www.dropbox.com/sh/kb0chk21eg3ird6/AACirP-gt4- Vincent van Berkel (Casus, Circus Oz) and kinetic sculptural artist Callan Morgan to explore the 0W3MheTK0UeHRa?dl=0 stark reality of climate change in this breathtakingly honest eco-apocalyptic circus show. Example Poster - https://www.dropbox.com/s/8vutlrajp1g4837/PTHY%20poster%20perth%20 Its the end of the world as we know it. How can we possibly find Hope in the face of so much mandurah%20final.jpg?dl=0 global devastation? Framed as a dreaming on an eco-apocalypse, Perhaps Hope invites the viewer to examine the humanity behind the masses and the thinly veiled beauty hiding beneath Marketing Images - https://www.dropbox.com/sh/ur1gfh8xx5cacae/AAC5PMt_- the ugliness. QnXfCW1TTiy4Yjoa?dl=0

Drawing inspiration from chaos theory, biomimicry and current social commentary, and Promotional Images https://www.dropbox.com/sh/ur1gfh8xx5cacae/AAC5PMt_-QnXfCW1TTiy4Yjoa?dl=0 complimented with an arresting soundtrack (Laurie Anderson, Olivier Messiaen, and Arca), this humorous, delicate and tension-filled work will leave the audience with a renewed optimism, Community Engagement While we are experienced acrobats and teachers of circus and would happily offer circus and perhaps hope. Activities masterclasses and workshops for adults or children, we are also very interested in collaborating with local groups which may exist who are attempting to tackle climate change in their local Perhaps Hope has wowed audiences in Australia and in UK, won Original New Circus environment to provide seminars or engagement sessions with local councils and the public. (Melbourne Fringe 2015) and been nominated for a Total Theatre Award 2016 (UK) and two We are willing to explore options in this regard. Greenroom Awards (AUS). Content Warning No Short Review “Daringly original and unexpectedly moving” The Times (UK) “A wholly mesmerizing acrobatic performance” EdFringe Review (UK) “Enchanting, entrancing and at times breath-holdingly, heart-stoppingly brilliant.” Adelaide Advertiser

Availability 20/03/2017 - 31/12/2018

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/BUDGET AND FEES Transport Notes An ordinary sized van (without a cargo cage) will carry what we have as long as there is enough space to carry the 2.4m long “Sabot”. We have flown the whole show both nationally and Budget Category Tour Ready - production has completed a premiere season and is now seeking presenters to internationally and are competent at it. build a tour and source tour funding, if required. Freight/gear: Remount Cost $ 5115 9 pieces, total 193kg: Weekly Fee $ 6480 • 2 average sized suitcases (costumes etc + boards & walking bottles) - 23kg each Per-Performance Fee $ • 1 snowboard bag containing handstand and sound equipment 23kg • 1 triangular shaped object:1.8m x 0.8m x 0.15m containing steel sculpture 25kg Royalties % 2 • 1 large curved wooden apparatus (wrapped) 2.4m x 0.6m x 0.3m 30kg Describe your APRA Standard APRA licence required Roughly 45 minutes worth of recorded music used in the show • 3 personal suitcases 23kg each obligations if applicable All music titles used are available for licence on APRA If a 4m x 5m carpet cannot be sourced at the venue then additional freight for said item will need Budget notes to be allowed for.

Industry Reference Angelica Clunes | Castlemaine Theatre | 0459 359 200 | [email protected] /TECHNICAL INFORMATION

Technical Rating /NOTES C (A, B, C, D,) as per NTS Format

Technical Links https://www.dropbox.com/s/qhlnv7702f3djsx/Perhaps%20Hope%20-Technical%20Rider%20 Nov%202016.pdf?dl=0

Theatre Formats Proscenium Arch,Black Box,Thrust,Flat Floor Hall

Bump‑in Time 6 Bump‑out Time 1.5

In‑Brief Lighting • A hazer Requirements • LX stock as per or similar the following example Lighting Plan - https://www.dropbox.com/s/q03nnod08uqykyl/PTHY%20lighting%20plan.pdf?dl=0 • LX Operator for the season

In-Brief Audio Requirements • PA, Sound Operator • a 6.5mm audio cable from the desk to on stage (for a mic, upstage, which we provide) • mac laptop with Qlab installed to run show sound from Qlab files, OR • Aux in to sound desk for mac laptop t

In-Brief Staging Requirements • An area of carpet about 4m x 5m (min 3.6m x 4.5m), preferably in dark grey or black. If this Describe your set and construction. cannot be provided, an additional fee will need to be allowed in order for the company to How does it sit on stage? Is a fly system required? Any technical supply or purchase. warnings? Do you require an • At least 40 clean empty champagne bottles. If t orchestra pit? Piano? Smoke/ strobe machine etc?

Stage Dimensions MIN. STAGE WIDTH MIN. STAGE DEPTH MIN. STAGE HEIGHT MIN. WING SPACE (metres) (metres) (metres) (metres) 7 6 4 0

Venue Crew Requirements LIGHTING CREW SOUND CREW STAGE CREW TOTAL VENUE CREW (hours) (hours) (hours) (hours) 10 10

Crew Notes 10 hours includes 6 bump in, 3 per show and 1 for bump out

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Does the show have an N/A DINOSAUR interval, and if so, how long? TIME MACHINE Performance and 2016: Touring History • Gluttony at the Adelaide Fringe Festival, 15 shows, presented by Highwire Events and HIGHWIRE EVENTS AND Entertainment ENTERTAINMENT • Fun4Kids Children’s Theatre Festival Warrnambool, 4 shows, presented by Fun4Kids • Wonderland Spiegeltent, Melbourne, 2 shows, presented by Wonderland Spiegeltent • The Street Theatre, Canberra, 7 shows, presented by Highwire Events and Entertainment in association with The Street Theatre and Warehouse Circus 2017: Contact Person Elena Kirschbaum • Feb-Mar Gluttony at the Adelaide Fringe Festival, 13 shows, presented by Highwire Events Email [email protected] and Entertainment • May-Jun Queensland schools tour, 34 shows, presented by Queensland Music Festival Contact Phone 0407 267 239 • Sep Malaysia Tour, presented by Milestone Productions” Organisation Website highwire.com.au Number of People in 2 State VIC Touring Party

History and Background Highwire Events and Entertainment since 2006 has been creating work that is playful and Touring Personnel Felicia Lannan | Performer | Yes exciting, bringing a sense of wonder and irreverence to the traditional theatre spaces and non- Paul Baker | Performer | Yes traditional venues through contemporary physical theatre, circus arts and theatre for children. Highwire offers unique, joyful shows, a presentation of the unexpected. Touring is important to Highwire because we make work that we are really proud of, and touring gives us the /MARKETING AND COMMUNITY ENGAGEMENT opportunity to to build new relationships with theatres and their communities, it gives new life to work by bringing it to new audiences. Key Audience and The audience for this show is kids aged 3-9 and their families! The show is also perfect for Written by Pablo Latona Marketing Notes school groups and holiday programs due to the educational content.

Directed by Pablo Latona Parents will bring their kids because kids love dinosaurs, and lots of parents do as well! The show has the added bonus of being educational, attracting people who might not normally Creative Team Two performers: Felicity Lannan - ‘dinosaur expert’, Paul Baker - ‘dinosaur expert’ attend the theatre, but it’s also a great show - entertaining and cleverly artistic, attracting a regular theatre-going audience. The inclusion of a female performer in the cast is deliberate to Artform Childrens engage girls as well as boys.

Marketing Tagline An educational dinosaur themed theatre show for kids 3-9. Marketing Selling Points • Dinosaur themed - very popular theme for kids at any time but especially now (with recent dinosaur films rebooting the popularity of dinosaurs) Synopsis Buckle up and take a trip in a giant time machine to get up close and personal with a life sized T-Rex! • Kids meet and get photographed with a life-sized (adolescent) t-rex! • Winner Best Childrens Show - Adel Dinosaur Time Machine incorporates up to date science and discoveries made about dinosaurs and the world that they lived in, and presents it in a fun and highly visual way, incorporating Clips https://www.youtube.com/watch?v=RCZOXwqEXSE&index=1&list=PLUSVNetqvhhtB1K3r5gPjz circus, puppetry, simple narrative and imaginative play in this unique educational theatre oaRz2EyMU77 production, aimed at children aged 3-9. https://www.youtube.com/watch?v=1zZNrvxK1hY The idea behind Dinosaur Time Machine is to excite it’s young audiences about science while at the same time stimulate creativity. It achieves this by delivering an educational show full of Marketing Materials https://www.dropbox.com/sh/657no03evxp2ibk/AAAxVrpS0fE6sdE5urS1a3bea?dl=0 facts while utilising the concept of imaginative play to encourage kids to use their imagination https://www.facebook.com/dinosaurtimemachine/ throughout, to help tell the story. It engages with kids throughout the show and there’s no fourth wall - lots of interaction throughout. The show was written by Pablo Latona, a theatre Promotional Images https://www.dropbox.com/sh/tpc36fhk60ckqz4/AACLxIgqqQJt8WH2UemxDWwoa?dl=0 maker, ex-science communicator, and clown doctor, and utilises the skills within these three different styles of performances to tell the story. Community Engagement - Circus Workshops for kids or in-schools (variety available including hoop workshops, juggling Activities ball making workshops and generic circus workshop) Dinosaur Time Machine was awarded Adelaide Advertisers ‘Best Children’s Show’ of the Adelaide Fringe 2016. - Q&A before or after performances about the making of the show, or on the science of dinosaurs Short Review “Dinosaur Time Machine isnt your everyday dinosaur show. It weaves factual information into the fun... circus and puppetry and audience interaction are all used to great affect... the charm - Educational material including teachers notes to tie in with show and National Curriculum of Dinosaur Time Machine lies in its ability to convey through simple means how science works” - Theatre and circus in education - workshops for teachers in ‘how to teach’ theatre and science - Adelaide Advertiser 2016 communication, circus and imaginative play (winner of Adelaide Advertiser’s ‘Best Children’s Show’ award at the Adelaide Fringe) - Photo opportunities with t-rex after performance - Roving with dinosaur before/after performance or in conjunction with promotion Availability 25/09/2017 - 31/12/2020 - Colouring in sheet that can be circulated to local schools, libraries, theatre mailing list, that Duration of show in minutes 55 makes up a display in the theatre foyer Not including interval

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/NOTES Content Warning No

/BUDGET AND FEES

Budget Category Tour Ready - production has completed a premiere season and is now seeking presenters to build a tour and source tour funding, if required.

Remount Cost $ 7524

Weekly Fee $ 3690

Per-Performance Fee $

Royalties % 14

Describe your APRA APRA license is required obligations if applicable

Budget notes

/TECHNICAL INFORMATION

Technical Rating D (A, B, C, D,) as per NTS Format

Technical Links https://www.dropbox.com/sh/mwkmcr3q54pbsu1/AABosJxtHx60cDQRMGeVd6sKa?dl=0

Theatre Formats All

Bump‑in Time 3 Bump‑out Time 1

In‑Brief Lighting Standard rig, warm wash covering stage to a height of 4m. One special - single downlight, Requirements green and blue colour options, chase sequence (or other ‘movement’ in lights). The show can be easily adapted without any of this specific lighting, to perform under a warm wash throughout.

In-Brief Audio Requirements 2 x wireless headset microphones, or one remote handheld mic 1 x input at desk for playback (ipad or computer)

In-Brief Staging Requirements Describe your set and construction. How does it sit on stage? Is a fly Small number of props scattered on stage, small table on stage right, string stretched across system required? Any technical back of stage attached in wings, rope with hook attached hanging from roof. warnings? Do you require an orchestra pit? Piano? Smoke/ strobe machine etc?

Stage Dimensions MIN. STAGE WIDTH MIN. STAGE DEPTH MIN. STAGE HEIGHT MIN. WING SPACE (metres) (metres) (metres) (metres) 4 3 3 2

Venue Crew Requirements LIGHTING CREW SOUND CREW STAGE CREW TOTAL VENUE CREW (hours) (hours) (hours) (hours) 1 1 2

Crew Notes One general crew member required to operate simple lighting and sound cues. Stage crew member required for one strike of prop and assisting a performer into the dinosaur puppet.

Transport Notes 1 station wagon or small van

Industry Reference Caroline Stacey | The Street Theatre | 02 6247 1519 | [email protected]

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Performance and The Abbotsford Convent, The Oratory, 2015. Two shows: Saturday June 27th & Sunday June OCULUS SONIC SUITE Touring History 28th. Presented by The Letter String Quartet and The Spiritous Award from The Abbotsford FEATURING MARITA Convent. The Salon, Melbourne Recital Centre, 2016. Two Shows: Saturday September 10th 4pm & 7pm. DYSON Co-presentation between the Letter String Quartet and The Melbourne Recital Centre Number of People in 6 THE LETTER STRING QUARTET Touring Party

Touring Personnel Steph O’Hara | Performer | Yes Lizzy Welsh | Performer | Yes Biddy Connor | Performer | Yes Contact Person Biddy Connor Zo‘ Barry | Performer | Yes Marita Dyson | Performer | Yes Email [email protected] Bek Varcie | Live Sound/Tour Manager | Yes Contact Phone 0412 258 162 Organisation Website theletterstringquartet.com /MARKETING AND COMMUNITY ENGAGEMENT State VIC Key Audience and This show will appeal to: History and Background The Letter String Quartet (TLSQ) brings together four eclectic musicians who have a combined Marketing Notes • The local and surrounding communities of all ages. desire to present fresh chamber music and collaborative work. 2016 saw TLSQ present a three- • Music lovers of broad tastes, ie.- audiences interested in chamber music and traditional string concert series at The Melbourne Recital Centre, including collaborations with Mick Harvey, instruments as well as audiences interested in original and innovative songwriting, choral Andrea Keller, Bree van Reyk and Yana Alana to name a few. The diversity of their concert work and contemporary classical composition. programmes appeals to a broad audience without compromises. TLSQ is keen to reach an even broader audience through touring and regional performances. • Audiences interested in storytelling and local history. • The existing fan-bases of The Letter String Quartet and Marita Dyson. Written by Music: Biddy Connor, Lyrics: Maria Zajkowski, History: Marita Dyson Marketing Selling Points • Marita Dyson is part of the much loved Melbourne band The Orbweavers, who have an Directed by The Letter String Quartet impressive bio of shows and recordings, including performances on Radio National and ABC TV. Creative Team Marita Dyson - Lead Voice, History. Steph O'Hara - Violin, Voice. Lizzy Welsh - Violin, Voice. Biddy Connor - Composition, Viola, Voice. Zo‘ Barry - Cello, Voice. Maria Zajkowski - Lyrics. Bek • There will be a recording of the music available. Varcoe - Live Sound Engineer & Tour Manager • Each member of the quartet has been involved with interesting and well known performers, including Missy Higgins, Mick Harvey, the Blue Grassy Knoll and Richard Frankland. Artform Live Music • The songs presented were written as a song cycle with a theme. Marketing Tagline A song cycle of original string quartet and vocal music. • The quartet and Marita can engage the local community in gathering special stories and historical tales from local residents. Synopsis The Oculus Sonic Suite was written by composer and quartet Artistic Director Biddy Connor in collaboration with Lyricist Maria Zajkowski. The song cycle, written for singer Marita Dyson Clips Full Length Video: https://vimeo.com/202697696/1bb6978a22 (The Orbweavers), was composed with the help of a Spiritous Award from The Abbotsford ”Days of Thought” by Biddy Connor & Maria Zajkowski Convent. Each song in the Oculus Sonic Suite speaks from a different perspective of the many people who have passed through the convent over the years. Each song is accompanied by Short Teaser: https://vimeo.com/202641298” an animation by Sydney Artist Rowena Crowe. Adding to the beauty of Marita’s pure voice Marketing Materials Social Media: https://www.facebook.com/The-Letter-String-Quartet-282900598421669/ gliding above the string quartet, each member of the quartet also sings harmonies, creating a lush and mysterious texture for each song. The original show includes historical information Press: http://www.theletterstringquartet.com/press.html about the Abbotsford Convent, researched and disseminated with passion by Marita, drawing Blog: http://www.theletterstringquartet.com/blog the audience further into the performance. Marita has a deep fascination with the history of Victoria. For each show she will research the local surrounding area and find interesting links Flyer from the 2015 concert Series where Oculus Sonic was first performed: to the Convent - a place and an area of land that has had a huge influence over Melbourne https://www.dropbox.com/s/jg3qozxuu0q0s4b/TLSQ%20Flyer%202015%20copy.jpg?dl=0 reaching far beyond it’s title as a convent. Promotional Images https://www.dropbox.com/sh/4z7rq1tmx6rjgo7/AACfULTP5uk4LyUq3okDHwU-a?dl=0 Short Review ”Australias new music dream team The Letter String Quartet treated the audience milling around the MRC foyer to excerpts from Wally Gunns moody work Blood.~~. If TLSQs stylistic Community Engagement The following community engagement activity can be developed more specifically with each range from artpop ballads to arch contemporary string writing is anything to go by, then Activities venue operator. In the week prior to the concert one or two members of the quartet will visit we can expect interesting things from the quartets concert...” (Matthew Lorenzon, Partial with a local community group to record local historical tales. Using this recording the quartet Durations) and Marita will devise a new work for the show. This may be in the form of a new original song, a spoken word story or poetry or may use the actual recordings made. Availability 15/01/2018 - 30/11/2018 Content Warning No Duration of show in minutes 60 Not including interval

Does the show have an N/A interval, and if so, how long?

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/BUDGET AND FEES /NOTES

Budget Category Ready to Go - available for one-off performances, no remount required

Remount Cost $

Weekly Fee $

Per-Performance Fee $ 3235

Royalties % All songs are fully registered with APRA - who are in control of the royalties

Describe your APRA All material used in the show are original compositions registered with APRA by the composers obligations if applicable

Budget notes This show is available as a one off show but we are also available to discuss creating a tour around the show. The one off performance fee does not include the community engagement activity. The details of this can be discussed according to budget available.

/TECHNICAL INFORMATION

Technical Rating D (A, B, C, D,) as per NTS Format

Technical Links The stage plot attached is for a fully amplified show. If the acoustic are suitable we may only need a vocal microphone for Marita. The animations do not have any sound. https://www.dropbox.com/s/4lt20ckfx6oxthr/TLSQ%20STAGE%20PLOT%20FOR%20 OCULUS%20SONIC%20SUITE.pdf?dl=0

Theatre Formats The show can be set up flexibly in accordance with each venue.

Bump‑in Time 2 Bump‑out Time 2

In‑Brief Lighting The Lighting design can be flexible according to the venue. Each performer will have a sconce Requirements light on their music stand and if a projector and screen is available there won’t be any need for other stage lighting.

In-Brief Audio Requirements The audio requirements can also be flexible depending on the venue. If the venue has suitable acoustics we will only need amplification for Marita’s vocals - everything else will be acoustic. A fully amplified show would need: • 5 microphones • 4 powered inputs for string instrument microphones (provided by the quartet)

In-Brief Staging Requirements Describe your set and construction. How does it sit on stage? Is a fly The Staging requirements are flexible according to each venue. Our preferred set up would system required? Any technical have a screen behind the performers and a projector to run the animations. warnings? Do you require an orchestra pit? Piano? Smoke/ strobe machine etc?

Stage Dimensions MIN. STAGE WIDTH MIN. STAGE DEPTH MIN. STAGE HEIGHT MIN. WING SPACE (metres) (metres) (metres) (metres) 4 2 2.5

Venue Crew Requirements LIGHTING CREW SOUND CREW STAGE CREW TOTAL VENUE CREW (hours) (hours) (hours) (hours) 0

Crew Notes

Transport Notes 1 x 6 seater people mover.

Industry Reference Kerstin Schulenberg | Melbourne Recital Centre | 03 9207 2649 | Kerstin.Schulenburg@ melbournerecital.com.au

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Performance and 2017 Tour spanning 20 performances across 10 venues from July-Oct BLUE LOVE Touring History NSW SHAUN PARKER & COMPANY • Merrigong Theatre Company, Wollongong • Joan Sutherland Performing Arts Centre, Penrith • The Civic Theatre, Newcastle QLD • SunPAC Theatre, Brisbane • World Theatre, Charters Towers • Centre of Contemporary Arts, Cairns Contact Person Katherine Fyffe • The Arts Centre, Gold Coast

Email [email protected] VIC • The National Theatre, Melbourne Contact Phone 02 9351 1941 • Colac Otway Performing Arts & Cultural Centre Organisation Website shaunparkercompany.com ACT State NSW • Canberra Theatre Centre History and Background Shaun Parker & Company is an exhilarating and bold Sydney-based dance company led by Since 2005 the show has toured to Coffs Harbour, Dubbo, Byron Bay, Port Macquarie, La Boite award winning Artistic Director and Choreographer Shaun Parker. The Company creates Theatre, Malthouse Theatre, Casula Powerhouse, Parramatta Riverside Theatres, Sale, Mildura, critically acclaimed contemporary dance productions, which are internationally renowned for Nelson Arts Festival, New Zealand and the Opera House. their integration of stimulating choreographic forms, arresting musical scores, and theatrical Internationally the show has toured to Colours Dance Festival, Stuttgart, Germany and invention.Touring is a cornerstone of the long term success of Shaun Parker & Company. Singapore International Arts Festival. Connection to the cities and audiences of Victoria is critical to our continued artistic vibrancy and to the truth of the stories Shaun Parkers works tell. Number of People in 4 Touring Party Written by Shaun Parker Touring Personnel Shaun Parker | Director/Choreographer/Writer/Performer | Yes Directed by Shaun Parker and Jo Stone (original direction) Jo Stone/Lucia Mastrantone | Performer | Yes Creative Team Performed by Shaun Parker, Jo Stone and Lucia Mastrantone Production Manager | Production Manager | TBC Stage Manager | Stage Manager | TBC Artform Physical Theatre

Marketing Tagline A poetic and satirical take on the clichés of pop culture, romance, coupledom and suburbia. /MARKETING AND COMMUNITY ENGAGEMENT Synopsis Infused with intense physical theatre, film and dance, Shaun Parkers Blue Love is a poetic and satirical take on the cliches of pop culture, romance, coupledom and suburbia. From a fantastic Key Audience and Blue Love is clever, funny and delightfully enjoyable. The work is highly accessible and boasts place where TV soap meets art-house film, Glenn and Rhonda Flune take the audience on an Marketing Notes wide audience appeal due to its combination of dance, comedy and humour. The work has expedition in search of the perfect relationship. been particularly successful with audiences who have not had a lot of experience with dance. The show cleverly uses humour and physical storytelling so that audiences can engage with Blue Love is inspired by famous works of art, theatre, music and film; all of which deal with the dance within a familiar theatrical narrative that employs the use of music, film and references to concept of love. Glenn and Rhonda draw on and reference all of these art forms, parodying the popular culture. lip-service given to love and its incarnations. This quirky, character-based work is a multi-media, physical theatre comedy: accessible, challenging and enormously entertaining. Key market segments - lovers of comedy, theatre, dance, rom-coms, fine art and music, baby boomers, Gens X & Y. Short Review ”Shaun Parkers dance hit is so cutting edge it actually wanders of the edge of any single-word definition. Its a tight package of snappy acting, super-smooth relevant dancing, superb singing Marketing Selling Points “Blue Love is so much fun it cant possibly be good for you. Shaun Parker and Veronica Neave and a fat dose of funny this reviewer will settle for a single-word label after all: brilliant.” apply their well-honed dance skills to a movement based parody of an upwardly mobile young couple who trip over their pretensions and their relationship with hilarious unpredictability.” Simon Ferguson, The Daily Telegraph The Sydney Morning Herald Availability 01/01/2018 - 31/12/2018 The Artistic Director and performer was a featured tango dancer in Baz Luhrmann’s Moulin Duration of show in minutes Rouge and has choreographed for So You Think You Can Dance. 65 Not including interval There is some brief nudity in the show (not full frontal) and free beer and popcorn is handed out at the start of the performance. Does the show have an N/A interval, and if so, how long? Clips Blue Love - Short Clip https://vimeo.com/66535446 Blue Love - Full Length https://vimeo.com/87441805 Password: shaunparker

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Marketing Materials https://www.dropbox.com/sh/5n0hv582fi8hozb/AAD5bJeqDCZ9bbug7jLm5IX7a?dl=0 In-Brief Staging AV Requirements: Requirements • Projector screen to be hung on WVZug 2 Promotional Images https://www.dropbox.com/sh/smszrlcmzvjpxoq/AACYpkl2-hZjIseHHU_MW9-ha?dl=0 Describe your set and construction. • Projection screen to be a minimum 4m by 3m (a much larger screen is preferred) How does it sit on stage? Is a fly Community Engagement There are opportunities to engage the community in a number of unique ways. There is an system required? Any technical • A high quality projector. 3500+ Ansi Lumens Activities option to use a live dog in the performance and in the past we have used social media to invite warnings? Do you require an locals to volunteer their dog for a performance which has been a great way to reach out to the orchestra pit? Piano? Smoke/ Staging Requirements: community and get them intrigued. strobe machine etc? • Red Curtains to mask and border screen at rear of stage The company is also committed to working with the local arts community to develop skills • Red Curtains to cover the entrance to the door leading offstage and encourage creative participate through masterclasses and workshops. The Company’s Note: Where possible red Hollywood curtains are preferred. If not available then black curtains. performers also have treated competition winners to a free tango lesson on stage before the show. Stage Dimensions MIN. STAGE WIDTH MIN. STAGE DEPTH MIN. STAGE HEIGHT MIN. WING SPACE (metres) (metres) (metres) Content Warning Yes - There is some brief nudity in the show (not full frontal). Some humorous adult references. (metres) Free beer and popcorn is handed out at the beginning of the performance. 9 6 4

Venue Crew Requirements LIGHTING CREW SOUND CREW STAGE CREW TOTAL VENUE CREW /BUDGET AND FEES (hours) (hours) (hours) (hours) 19 9 20 48 Budget Category Tour Ready - production has completed a premiere season and is now seeking presenters to build a tour and source tour funding, if required. Crew Notes LX pre rig required prior to arrival

Remount Cost $ 18700 Transport Notes 3 tonne van required to travel set, with truck to be driven by crew. Some set elements would need to be built and sourced by venue if individual pieces travel by plane. Weekly Fee $ 7865 Industry Reference Linda Christof | Dubbo Regional Theatre and Convention Centre | 02 6801 4370 | Linda.Christof@ Per-Performance Fee $ dubbo.nsw.gov.au

Royalties % 10

Describe your APRA Of the 65 minute work, there is just under 20 mins of APRA royalty applicable music used, /NOTES obligations if applicable payable as per the APRA Licence for the Performance of Works in a Dramatic Context. Rights confirmed as available.

Budget notes Single performances are available for $4,700.

/TECHNICAL INFORMATION

Technical Rating C (A, B, C, D,) as per NTS Format

Technical Links https://www.dropbox.com/s/xi81l36oav1af8x/SPC_BlueLove_ShowSpecs_2016.pdf?dl=0

Theatre Formats Proscenium Arch, Black Box, Thrust, Flat Floor, Hall

Bump‑in Time 16 Bump‑out Time 2

In‑Brief Lighting • Frost required for front of house front wash Requirements • Power required at the onstage bar for a popcorn machine. This is a 10amp circuit and the Shaun Parker Company will provide an appropriate adapter • Chandelier provided by the Shaun Parker Company will req

In-Brief Audio Requirements • Output for audio will be a miniVjack to the desk. Output for video will be Apple Thunderbolt to HDMI or VGA depending on the projector. (These will need to be provided by the venue) • 2x Wedges for foldback on either side of the stage • Standard sound

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Performance and The first full length show will be performed at La Mama Courthouse, May 24th to June 4th 2017. ONE AND THE OTHER Touring History Elements of the show have been performed in shows at: BATTON & BROADWAY • Mullumbimby Circus Festival, October 2015. 1 performance. • The Classics, Melba Speigeltent, November 2014. 5 performances. Presented by Batton and Broadway. • The Classics, Melba Speigeltent, December 2015. 4 performances. Presented by Batton and Broadway. • The Classics, Coffs Harbour Jetty Theatre. January 2016. One performance. Presented by CHATS Productions. • Melbourne Town Hall. Seniors Week Festival. October 2016. Three perfromances. Presented Contact Person Susan Broadway by Victorian Seniors Week. • Western Australian Circus Festival. January 2017. Six performances. Presented by WACF. Email [email protected] Number of People in Contact Phone 0431 254 223 4 Touring Party Organisation Website facebook.com/battonNbroadway Touring Personnel Sue | Broadway | yes State VIC Debra | Batton | yes Teresa | Blake | no History and Background Sue Broadway and Deb Batton began performing together four years ago hosting the variety TBC | Stage Manger | no event The Classics featuring artists over 50 years of age. It has become a Melbourne favourite for young and old. One and the Other is the next step in their development as a duet. This work examines tradition and the contemporary in circus and society. It is unapologetically feminist in /MARKETING AND COMMUNITY ENGAGEMENT its comedy and rage as it tests the limits of friendship and collaboration. Celebrating the older woman in all her glory, Batton and Broadway should be seen everywhere - and Victoria is the Key Audience and This is an adult show containing strong language and nudity. People of all ages will love it perfect place to start. Marketing Notes but it may not be appropriate for young audiences, depending on Parental guidance Women, Written by Sue Broadway and Debra Batton especially Grumpy Old Women, will respond to its celebration of the possible and its assertion that women of a certain age are NOT invisible. Although there is spoken text there is also Directed by Clare Bartholemew a strong visual component, and comic physicality, ensuring that One and the Other will be accessible to a range of audiences as long as they are ready to have fun. Auslan Interpreter Creative Team Sue Broadway, Performer/Devisor. Debra Batton, Performer/Devisor. Teresa Blake, Composer/ recommended. Musician. Laurel Frank, Designer. Gina Gascoigne, Lighting Designer. Marketing Selling Points Circus veterans Debra Batton and Sue Broadway re-invigorate old tricks with new attitudes. Artform Physical Theatre Funny and playful, together they prove that vintage is better as they charm you with their skill, Marketing Tagline Batton & Broadway are One and the Other. But which is which? Who cares as long as its funny. wit, and fearless presence. • Feisty, furious and funny. Synopsis Debra and Sue are established artists who have performed in circus and vaudeville for many • Its different every night come and be surprised. Pleasantly. years. Sue was a founder of Circus Oz, then RaRaZoo in the U.K. and continues to perform and direct Circus and large-scale events. Debra was the Artistic Director of Legs on the Wall for • Batton & Broadway offer circus, clowning and improvisation as delightful alternatives to more over 10 years and now directs and performs in circus, dance, theatre and physical theatre. media sedation. Beginning with some classic circus acts such as hat juggling and mini trampoline acrobatics, • Neither thinks that being female requires the wearing of high heels or G-strings. they have continued to develop as a comic duo with archetypal attributes. In One and the Other • A show that takes an open-eyed look at what it is to be over the hill and still climbing. they use improvisation as part of the event and give the audience power to heckle, interject and interact. Drawing on their experience and training they strip the idea of clown back to essential Clips https://vimeo.com/118340765 notions of the fool, the transgressor, the disruptor. Especially the older female version of such. A promo video of the classics shot in 2015. Video of One and the Other available late May 2017. This work will present a timely contribution to current discussions about discrimination against https://youtu.be/__zMFUcGTR4 older Australians. Batton & Broadway embody positive aging and offer circus, clowning and Link to slideshow of live performance images of Batton & Broadway. improvisation as delightful alternatives to media sedation. They will premier the work at La mama Courthouse in May 2017 with a view to touring in 2018. Marketing Materials https://www.dropbox.com/sh/70vm8krs3wcfblj/AADCQaO2rvyOnNp6E7tspqbDa?dl=0

Short Review “This award-winning pair of women brings to the process experience, a willingness to Promotional Images https://www.dropbox.com/sh/gh6hgvp8h0c480j/AADOzNVoiBkYws6OT53WF6AQa?dl=0 take innovative artistic risks and the ability to achieve at the highest standards of creative excellence. No-one else is attempting what these women are doing, it is beautiful, eloquent, and Community Engagement We can offer workshops in clowning at any level and masterclasses in performance for poignant, as well as fun!” Activities previously experienced students. We can run forums where we speak about the development Sally Richardson, Artistic Director, Steamworks Arts Productions of Contemporary circus, the history of circus and vaudeville in Australia and our own histories as performers. We can speak at local groups or events. We can work with Drama students, Availability 10/03/2018 - 30/06/2018 community theatre groups or similar. Women only is an option. Duration of show in minutes 55 Content Warning Yes - Strong Language and female nudity. Not including interval

Does the show have an N/A interval, and if so, how long?

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/BUDGET AND FEES /NOTES

Budget Category In Development - work which will be produced and premiered in time for touring during 2018/19

Remount Cost $ 5300

Weekly Fee $ 16000

Per-Performance Fee $

Royalties % 5

Describe your APRA Only foyer, preshow and post show music if applicable. Royalties cover orinal music used in the obligations if applicable production.

Budget notes Budget is draft only at this stage - more detailed information will be available in May.

/TECHNICAL INFORMATION

Technical Rating C (A, B, C, D,) as per NTS Format

Technical Links http://lamama.com.au/La-Mama-Courthouse-Technical-Inventory.pdf

Theatre Formats Proscenium or black box. Reasonably flexible.

Bump‑in Time 4 Bump‑out Time 1

In‑Brief Lighting TBC Requirements

In-Brief Audio Requirements TBC

In-Brief Staging Set is self contained on stage with no fly system required. Requirements A central on stage quick change area is provided by a screen that we tour. Describe your set and construction. How does it sit on stage? Is a fly Crash Mat and mini tramp tour with the production or may be hired or borrowed interstate or system required? Any technical internationally. They are preset on stage and stay there throughout. warnings? Do you require an orchestra pit? Piano? Smoke/ Two small folding tables and chairs. Also on stage throughout. strobe machine etc? Some mess is made during the production. Hypo-allergenic shaving cream and water only. Smoke machine desirable but not essential.

Stage Dimensions MIN. STAGE WIDTH MIN. STAGE DEPTH MIN. STAGE HEIGHT MIN. WING SPACE (metres) (metres) (metres) (metres) 6 6 5 1.5

Venue Crew Requirements LIGHTING CREW SOUND CREW STAGE CREW TOTAL VENUE CREW (hours) (hours) (hours) (hours) 4 4 0 8

Crew Notes These are notional crew hours at present - work is still in rehearsal. Above figure is for one performance. Assuming lighting pre-rig is venue cost.

Transport Notes Small 2 seater van for 2 people plus set. Set packs down to approx 6sq metres. Largest piece is crash mat at 2.5 m x 1.2 m x .4m. Additional car for 2 other passengers. Travel by Plane is possible providing crash mat and mini tramp can be hired in situ.

Industry Reference Lou Oppenheim | Circus Oz | [email protected]

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Does the show have an N/A PLAY FOR AUSTRALIA interval, and if so, how long? VESSEL Performance and Play for Australia premiered at the Arts Centre Melbourne in September 2016 - 4 shows as part Touring History of the Melbourne Fringe Festival during AFL Grand Final week and sold out all but 15 seats in the season.Play for Australia was then invited to perform at ArtsFront - the national gathering helping to shape the future of culture held at Footscray Community Arts Centre November 2016 - 1 show Play for Australia is under further development to commission more writers & looks to produce over 25 new works in future. Concurrently Vessel delivered regional workshops for writers at Yinnar in partnership with Transvision Theatre resulting in a season at La Mama & at Port Fairy Theatre Group AND further workshops as part of the RAV Education & Families Tour in Contact Person Jim Lawson Kyabram during 2016.

Email [email protected] Number of People in 7 Touring Party Contact Phone 0419 188 958 Touring Personnel James Lawson | Artistic Director/Actor | YES Organisation Website vesselartscite.com Simone Flanagan | Producer | YES State VIC Drawn from the ensemble below | 5 x Actors | YES Candy Bowers | Actor | YES (subject to availability) History and Background Vessel was founded in 2013 and creates distinctive projects programs and partnerships Majid Shokor | Actor | YES (subject to availability) regionally, nationally and internationally. Based on Bunurong land on the Bass Coast of Victoria, Genevieve Morris | Actor | YES Vessel creates new Australian work for the stage, developing local stories to share locally, Katerina Kotsonis | Actor | YES nationally & internationa empowering many voices; supporting diversity and engaging emerging Pauline Whyman | Actor | YES and established talent. Aileen Huyhn | Actor | Yes (subject to availability) Harry Tseng | Actor | Yes (subject to availability) Vessel’s mission is to develop local, regional stories and new voices and to share them broadly throughout Victoria, nationally and internationally. Touring is critical in supporting this mission Written by Patricia Cornelius Ross Mueller Chi Vu Candy Bowers Emilie Collyer John Romeril Kamarra Bell- /MARKETING AND COMMUNITY ENGAGEMENT Wykes Tania Ca–as Angus Cameron Maysa Abouzeid teshe Somsundaram Fleur Murphy Key Audience and The provocation for Play for Australia is - Who are we? AND/OR Who could we be? Wrestle the Directed by John Kachoyan & Deborah Leiser Moore Marketing Notes future in 600 words! This is theatre for our times. Creative Team James Lawson Artistic Director/Actor Cast of 5 from an ensemble of Candy Bowers Pauline Those who love great theatre filled with ideas, power & humour, will love the exciting format & Whyman Genevieve Morris Aileen Huynh Harry Tseng Katerina Kotsonis Majid Shokor feel deeply moved & changed by the work Artform Drama Audiences from diverse backgrounds will see themselves on stage bringing new audiences Marketing Tagline Tiny Plays. Many Voices. Big Impact Audiences new to & familiar with theatre will find the bite size works highly accessible

Synopsis Play For Australia is a bold gathering of many theatrical voices presented in a season of Secondary School Students & teachers will find the themes relate directly to SOSE / Theatre curated, ultra-short 600 word plays. Patricia Cornelius, John Romeril, Ross Mueller, Emilie Studies/ Drama & English cur Collyer, Candy Bowers, Kamarra Bell Wykes and many more established and emerging writers explore who we are and who we could be as a nation in these newly commissioned works. Marketing Selling Points Play for Australia delivers 12 new Australian works for the stage in a unique & accessible format of bite sized plays of 600 words. A diverse cast of outstanding actors deliver the highest calibre An exciting project, Play For Australia subverts the norm of one voice on the stage by of writing by established & iconic Australian writers Patricia Cornelius, John Romeril, Emilie delivering immediate and dynamic engagement with the daring ideas of 12 individual writers Collyer, Ross Mueller & force of nature Candy Bowers along with new & emerging writers from from very diverse backgrounds. The plays are a timely and powerful response to how the very diverse backgrounds.The work is provocative, funny & filled with pathos in equal measure themes of national identity are reflected on our stage and in the street. 5 Actors read the works & explores urban and rural Australia’s wrestle with our present and our future.Tiny Plays. Many of 12 writers to an intimate audience. Please note, in this agile iteration, actors will have script in Voices. Big Impact. hand. Clips Short clip - https://youtu.be/qGLrwUSNer4?list=PLR93WjsE3izJGIuhfHqQm6IzApsj38a76 The performances are able to be followed by a post-show discussion with the cast and audience in what is a provocative invitation to question the future of our nation and explore the Long clip - https://www.youtube.com/ themes of the work. An exciting opportunity also exists to offer workshops for local writers & 3 watch?list=PLR93WjsE3izJGIuhfHqQm6IzApsj38a76&v=6Rv-g_CQcDM local plays could be presented in conjunction with the commissioned works. Marketing Materials 1. Facebook - https://www.facebook.com/VesselArtsCite/ Short Review ”I was blown away by the night, the vision and the work. Congratulations and thank you.Very 2. High Res images - https://www.dropbox.com/sh/lg5li532jnx1ihf/ grateful and very moved. It was a real pleasure to see what you all achieved.” AABJ9I0wQtQMsDxFRu1pogU3a?dl=0 Lee Lewis - Artistic Director Griffin Theatre Sydney 3. Media Release & Comapny Bio - https://www.dropbox.com/home/ Availability 12/02/2018 - 28/04/2018 showcase2017playforaustralia 4. Website - www.vesselartscite.com Duration of show in minutes 70 (plus 20 post show discussion) Not including interval Promotional Images https://www.dropbox.com/home/showcase2017playforaustralia

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Community Engagement A distinct residency option exists to develop local emerging and established writers and Stage Dimensions MIN. STAGE WIDTH MIN. STAGE DEPTH MIN. STAGE HEIGHT MIN. WING SPACE Activities present 3 of their their works in conjunction with the commissioned works by the professional (metres) (metres) (metres) (metres) cast leading to 15 ultra short plays presented. Local writers can be invited to join the post show 8 8 discussion to discuss the themes, the process and their work in a local context. Vessel can offer Writing workshops for all ages and across community and education contexts Venue Crew Requirements LIGHTING CREW SOUND CREW STAGE CREW TOTAL VENUE CREW Vessel is Registered with the Victorian Institute of Teaching -Educator kits can be offered for (hours) (hours) (hours) (hours) teachers & students 4 1 3 8

Content Warning Yes - Adult themes, limited strong language (M15+) Crew Notes We require crew member for bump in to set up chairs, music stands & data projector & screen and microphones & operate lights. This could be the one crew member dependent upon venue or if a pre-rig completed less time on the day of performance would be required. /BUDGET AND FEES Transport Notes 8 Seater required Budget Category Tour Ready - production has completed a premiere season and is now seeking presenters to Can definitely travel by plane build a tour and source tour funding, if required. Industry Reference Caitlin Dullard | La Mama Theatre | 0430 033 495 | [email protected] Remount Cost $ 18120

Weekly Fee $ 15500 /NOTES Per-Performance Fee $

Royalties % 10

Describe your APRA obligations if applicable

Budget notes The touring party is 7 however costs are significantly mitigated by several factors: • Remount costs are very lower to the unique nature of the work in this format. • Technical, crew and bump in/out requirements are deliberately low further alleviating costs to venues onsite. The simplest lighting & set requirements further reduce costs. • The residency option is negotiable & not included in budget

/TECHNICAL INFORMATION

Technical Rating C (A, B, C, D,) as per NTS Format

Technical Links

Theatre Formats Black Box most suitable but all formats

Bump‑in Time 4 Bump‑out Time 1

In‑Brief Lighting General wash only required Requirements Three specials across the stage. Each with separate gels. Control from central bio box or beside stage from remote desk

In-Brief Audio Requirements 2 x microphones to house system

In-Brief Staging The set is deliberately low fi. Bare staging to keep the focus on the writing. Requirements 6 Chairs for actors Describe your set and construction. How does it sit on stage? Is a fly 6 music stands or similar system required? Any technical warnings? Do you require an A Data projector and screen required but could be projected onto scrim or theatre wall orchestra pit? Piano? Smoke/ strobe machine etc? Several props are used throughout the performance - 7- 10 tin buckets and a small amount of soil is also used. Performers on stage as audience enter

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Performance and 2015 Black Box, Royal Croquet Club (7) THE ADVENTURES OF Touring History 2016 DeParel Spiegeltent, Perth Fringeworld (2) BROER AND ZUS 2016 Ukiyo, Royal Croquet Club, Adelaide Fringe (12) ELOISE GREEN & SAMUEL MCMAHON 2016 Regional SA tour, Country Arts SA (5) 2016 Aurora Spiegeltent, Brisbane Festival (3) 2016 Arts Centre Melbourne (10) 2016 Metro SA tour Out of the Square (8) 2017 The Pocket, Stirling Fringe (4) Contact Person Penny Camens Number of People in 3 Email [email protected] Touring Party

History and Background In late 2014, Eloise Green and Samuel McMahon embarked on producing independent children's /MARKETING AND COMMUNITY ENGAGEMENT theatre, focussing on storytelling. Both Eloise and Samuel have a long history in circus, entertainment, comedy and movement performance, and they brought these skills together Key Audience and Aimed especially at audiences aged 3-12 years old and their families, this show is perfect for in their first production The Adventures of Broer & Zus. Since then they have won awards for Marketing Notes anyone who enjoys comedy, circus, dance, puppetry and theatre, because of the subject matter excellence in children's theatre and sold out shows across Australia. it is also enjoyed by those going through a significant change eg. a new school, new house, new living arrangements, new country etc. Written by Eloise Green & Samuel McMahon Marketing Selling Points The show has been performed to over 5000 people across 7 seasons and over 50 Directed by Dramaturg: Stephen Sheehan presentations. A full suite of marketing materials are available for production of collateral, Creative Team Samuel McMahon Performer/deviser, Eloise Green Performer/deviser, Stephen Sheehan Promotional images, an illustrated poster also available as a colouring in image- video clip Dramaturg, Wendy Todd Design, Music and sound contributed by Ian Moorhead and copy is available. An established facebook page supports social media campaign, and Samuel and Eloise are experienced performers, adept at TV promotional spots, radio and media Artform Childrens interviews.

Marketing Tagline A circus, comedy, puppetry theatre adventure! WINNER, BEST KIDS, MELB FRINGE 2016

Synopsis Remember when you were young and it felt like every problem was the “end of the world”? Weekly AWARD BEST KIDS, ADL Fringe ‘15 & ‘16 Thats how Broer and Zus feel! Its the first day of school for Broer & Zus recent immigrants from Qantas TOP 5 SHOWS TO SEE BRIZ.FEST ‘16 a faraway place to Australia. The day starts off feeling like the end of the world, but through song, dance, comedy, circus and a daydream sequence, they overcome their fears. Its a story of Clips https://vimeo.com/user43063067/broerandzus challenge and resilience with the power of nonsense and imagination. https://www.facebook.com/880703905283122/videos/vb.880703905283122/12109336855934 The Adventures of Broer & Zus is inviting and engaging from the very start, from the moment 74/?type=2&theater the characters lead the audience into the theatre to the very end, the audience is captivated and invested in their journey from a faraway place to ‘Outback’ Australia. Through theatre, Marketing Materials https://www.dropbox.com/sh/fci2x955f6rgy94/AACSxBo_X0kL9teKiOJo-idva?dl=0 comedy, puppetry, circus, dance and imagination, the characters build resilience and overcome All photographic image credits are ... “The Adventures of Broer & Zus - photo: Trentino Priori” the compounding fears of a new home, a new place and the first day of school. The audience is All illustrated image credits are ... “illustration: Robin Tatlow-Lord” left with a strong feeling of achievement, an inner strength to overcome ‘tricky times’, and most of all - are laughing their heads off! https://www.facebook.com/The-Adventures-of-Broer-Zus-880703905283122/

Short Review ”The Adventures of Broer and Zus... are a company of excellent artistic merit performing Promotional Images https://www.dropbox.com/sh/fci2x955f6rgy94/AACSxBo_X0kL9teKiOJo-idva?dl=0 innovative and exciting work.” Karen Koren, Artistic Director, Gilded Balloon Edinburgh Community Engagement The show has also been presented for a primary schools audience, with a teaching resource kit ”This show is original, hilarious and a treat for the whole family” Activities developed to accompany presentation. The touring cast offer workshops in a range and mix of Sasha Zahra, Creative Producer, Adelaide Fringe. circus skills and acrobatics as well as a bespoke theatre/storytelling/puppetry workshops that reference sections of the show. Education Resource has been shared in the dropbox link. Availability 10/07/2017 - 20/12/2018 Content Warning No Duration of show in minutes 40 Not including interval

Does the show have an N/A interval, and if so, how long?

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/BUDGET AND FEES /NOTES Budget Category Ready to Go - available for one-off performances, no remount required

Remount Cost $

Weekly Fee $

Per-Performance Fee $ 3750

Royalties % 6

Describe your APRA obligations if applicable

Budget notes Performance Fee is for a two show day Weekly fee is $9862

/TECHNICAL INFORMATION

Technical Rating D (A, B, C, D,) as per NTS Format

Technical Links https://www.dropbox.com/sh/ipuo8r1as6t4m8b/AAAmf_EJ5ewocpLZ6a5Fbbaaa?dl=0

Theatre Formats A flexible show presented in black box spaces with raked seating ideally, alternately a raised stage with flat floor seating. The production had also been presented in a spiegeltent (semi- round) and many varied small halls and spaces

Bump‑in Time 3 Bump‑out Time 1

In‑Brief Lighting Minimum 3 colour lighting stage wash (with 2 focussed specials or 1 fixed position spotlight) Requirements Projector focused upstage on back wall/scrim with data cable return to sound/lighting op. area

In-Brief Audio Requirements 2 wireless headset microphones (these can be supplied) Audio playback from laptop (laptop supplied) Stereo Speaker system & sound desk for Audio playback of all audio elements (no foldback required)

In-Brief Staging Set elements: large wooden Box, props, circus equipment Requirements Animation elements projected on to backdrop Describe your set and construction. How does it sit on stage? Is a fly Video playback from laptop (laptop supplied) system required? Any technical warnings? Do you require an Venue to supply Projection screen/Hanging bar or wall upstage (full width of the stage) to hang orchestra pit? Piano? Smoke/ fabric for projection strobe machine etc? Projector

Stage Dimensions MIN. STAGE WIDTH MIN. STAGE DEPTH MIN. STAGE HEIGHT MIN. WING SPACE (metres) (metres) (metres) (metres) 5 5 4.5

Venue Crew Requirements LIGHTING CREW SOUND CREW STAGE CREW TOTAL VENUE CREW (hours) (hours) (hours) (hours) 3 3

Crew Notes Show operated by touring tech (LX, AV and Sound, if desks are co-located for ease of operation) - crew only required for lighting focus and lighting state recording into venue desk and powering the venue audio system and projector and projector focus.

Transport Notes Show fits into 3 travel cases, able to fly (<23kg each) company can tour in a van or similar with 2 rows of seating, and all other seating fixtures removed for set and luggage.

Industry Reference Ebony Bott | Arts Centre Melbourne | 03 9281 8767 | [email protected]

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Does the show have an Yes 2 options - 80 minute show (with possible short 10 min break if bar already open), or 2 x 45 SONGS FROM interval, and if so, how long? min sets with 20 minute interval for theatres using pros arch or hall seating set-up with bar only THE SUN AND MOON open at interval. Performance and Dunning has performed his style to large and small crowds globally. In Turkey, on TV8’s “Var” - ADAM DUNNING Touring History programme to over 2 million viewers, Brazil, Japan and many other countries including the 2016 Melbourne International Jazz Festival, with his new show “Songs From The Sun and Moon” just SUNSET CLUB PRODUCTIONS (A announced at Wellington Entertainment Centre for November 2017. His jazz duets show “A Cosy Night In”, was created for Wellington and the Frankston Arts Centre in Australia, and he DIVISION OF SUNSET CLUB PTY LTD) has performed similar shows at Inverloch Jazz Festival, Sustainable Living Festival (2012 and 2013), Mornington Festival (Victoria), Sale Festival, as well as his shows “An Eve With Adam”, “Good Morning”, “Smooth Operator”, and “S Wonderful”. Contact Person Adam Dunning Dunning will tour Japan, Europe, and the US across 2017 with his two new albums.

Email [email protected] Number of People in 5 Touring Party Contact Phone 0424 104 290 Touring Personnel Adam Dunning | Featured performer | Confirmed Organisation Website adamdunning.com Eric Budd | Horns and woodwind | Confirmed State VIC TBC | Drums/Percussionist | Unconfirmed TBC | Piano | Unconfirmed History and Background Sunset Club represents the music and works of Adam Dunning, and has produced many TBC | Bass | Unconfirmed regional, capital city and international tours including Turkey, Japan, Brazil, Netherlands, Korea, in Australia at jazz festivals (Inverloch and the Melbourne International Jazz Festival to name a few), and the show "A Cosy Night In" that was performed at Wellington Entertainment Centre /MARKETING AND COMMUNITY ENGAGEMENT and Frankston Arts Centre between 2015-2016. Touring is very important to get Adam Dunning’s music heard. It has been very successful in Key Audience and Dunning’s bossa nova/surf audience is often a similar market to music theatre, jazz and cabaret. overseas countries, is an innovative genre, and brings a culturally diverse crowd. Marketing Notes Varied ages but the majority middle aged 30-70s. Appeals to a very wide culturally diverse demographic who love Bossa Nova, Sinatra, and Porter/Gershwin style compositions, for a Written by Adam Dunning “sunnier” side of world and jazz music. The music is now beginning to appeal to a younger crowd taking an interest in surfy, oceanic, jazz vibes, with younger audiences describing the Directed by Adam Dunning music as “Sinatra meets Jack Johnson”. Creative Team Adam Dunning Marketing Selling Points This show is perfect for summer, or the lead into it. Market to the cabaret and jazz crowd, the Artform Live Music Sinatra and big band fans who like the return of real music delivered in a simple form with voice and guitar, and old-school yet original compositions in the style of Porter/Gershwin style. Marketing Tagline Bossa Nova. Sunsets. Summer. A unique feel-good vibe with Australias own “voice of summer”. Radio: Radio appearances, press interviews and singing live have been key to Adam Dunnings Synopsis Prepare to be taken away with Dunnings original repertoire from his (soon to be) four albums PR strategy. Dunning is host of ABC and international radio programs so comfortable. that have found a following right across the globe. Bringing together the moods of lounge, surf, TV: Will attempt to market on Morning shows across Australia (if part of a wider Australian and the essence of Bossa Nova, Adam Dunning makes you relax, think, and smile. tour). Dubbed the “Voice of Summer” by BBC Radio, Dunning delivers a very special performance that Venue: Suitable for all venues showcases his originals, and includes songs he co-wrote and performed with the great Bossa Nova pioneers from Rio’s early 60’s when the genre was developed. Clips Televised stage performance in Istanbul: His messages of humanitys relationship to the world and nature brings out an earthy rawness http://karnaval.com/unluler-videolari/adam-dunning-sofia-16-479-video that is emotive, thought provoking, and sensual. Holiday official music video: https://youtu.be/hXW4FjzqR6w

For those of us yearning for the return of real music delivered in the simplest form that is Marketing Materials Generic press release, company bios, hi-res production and marketing images, poster and flyer Dunnings own form of Bossa Nova, with voice and guitar as the main ingredients. Dunning will templates will be provided. be joined on stage by some of Australias jazz and world music instrumentalists. Marketing materials (always being updated): https://www.dropbox.com/sh/jmpdr2dx369u43v/ Short Review “The unrivalled voice of summer. His songs vibrate with an earthy delight in love and life” AADo-WIXdUA54DOyPpzngasEa?dl=0 BBC World of Music, UK Artist Website (with tracks playable): www.adamdunning.com “There is nothing like this in Australia” Karen Nicholls, composer Twitter: www.twitter.com/adamdunningoff “Summery, sexy, romantic” Inside Sleeve, ABC Radio National, Australia Facebook: www.facebook.com/adamdunningmusic “Bossa with the voice of jazz...The soul of our culture” Jornal Da Orla, Brazil Instagram: www.instagram.com/adamdunningmusic “A mid-summer sea breeze” Music Magazine, Japan Promotional Images https://www.dropbox.com/sh/jmpdr2dx369u43v/AADo-WIXdUA54DOyPpzngasEa?dl=0 Availability 01/12/2017 - 01/12/2018 Community Engagement Possible Marketing upon request: Duration of show in minutes 90 Activities Community engagement activities to teach the Bossa Nova style Not including interval Content Warning No

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Industry Reference Andrew Thomson, Acting Manager Arts & Culture | Esso BHP Billiton Wellington Entertainment /BUDGET AND FEES Centre | 03 5143 3200 | [email protected]

Budget Category Ready to Go - available for one-off performances, no remount required /NOTES Remount Cost $

Weekly Fee $

Per-Performance Fee $ 4600

Royalties % 6

Describe your APRA obligations if applicable

Budget notes Performance fee. Accomodation: Basic accommodation requested through presenters agreements with nearby hotels if more than one show in a week, or if venue is more than 2 hours from Melbourne.

/TECHNICAL INFORMATION

Technical Rating C (A, B, C, D,) as per NTS Format

Technical Links The show is a simple C set-up (some D). Anything further than that provided here can be provided on request.

Theatre Formats Proscenium Arch, Black Box, Thrust, Town Hall, Cabaret Spaces

Bump‑in Time 3 Bump‑out Time 2

In‑Brief Lighting General wash minimum requirement for the stage with two colour options (one warm and Requirements one cold) along with a central focus spot, a follow spot and some specials. Generally a rig that evokes a happy, sunny atmosphere.

In-Brief Audio Requirements Instrumentalists provide their own instruments including full drum kit and percussion (possibly Glockenspiel, Vibraphone); acoustic guitar; bass guitar (potentially double bass); will need Mics and Dis / leads for guitar and instruments including horns, 3 vox mics, boom mic for seated guitar and handheld wireless for standing main vocalist. Foldbacks and full sound system required for the performance. Some instrumentalists may provide own amps as fold backs. Grand piano needs to be provided at venue ideally.

In-Brief Staging Requirements One chair and one stool, with band backing. Ideally a featured curtain at back of band if Describe your set and construction. projection is not available. How does it sit on stage? Is a fly system required? Any technical Grand piano is integral to the performance’s sound and expression, including look. However, if warnings? Do you require an piano cannot be used, keyboard hire of Nord or Rholand could be used. orchestra pit? Piano? Smoke/ strobe machine etc?

Stage Dimensions MIN. STAGE WIDTH MIN. STAGE DEPTH MIN. STAGE HEIGHT MIN. WING SPACE (metres) (metres) (metres) (metres) 6 to 7 4 to 5

Venue Crew Requirements LIGHTING CREW SOUND CREW STAGE CREW TOTAL VENUE CREW (hours) (hours) (hours) (hours) 5 4 9

Crew Notes All musicians will pack up own gear. Venue’s lighting and sound to pack up own gear.

Transport Notes Given the minimal set requirements, transport of musicians can be arranged through band. For a number of performances across Victoria, a van can be arranged which can transport equipment and all 5 musicians.

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Does the show have an N/A A ROOM OF ONE’S interval, and if so, how long? OWN BY VIRGINIA Performance and Sentient Theatres inaugural piece, A Room of Ones Own by Virginia Woolf, delivered a sold-out Touring History season of 10 performances at The Courthouse Theatre as a part of La Mama Theatres Autumn WOOLF Season 2016. Number of People in 5 ANNA KENNEDY/SENTIENT Touring Party

Contact Phone 0431 376 678 /MARKETING AND COMMUNITY ENGAGEMENT Organisation Website thevirginiawoolf.com

State VIC Key Audience and • Particularly appeals to women (ages 13+) through the delicate dissection of gender disparity Marketing Notes in history. History and Background Sentient Theatre is a new collective of contemporary theatre practitioners with the goal of • Virginia Woolfs literary fame will attract community members with an interest in history, bringing important humanitarian narratives to the stage. Our inaugural piece, A Room of Ones gender studies, from book/library groups, historical Own by Virginia Woolf, premiered at La Mama Courthouse in 2016 to overwhelmingly positive responses, igniting our desire to continue sharing this important story. Based on a series of Marketing Selling Points • Promote the work as a stage adaptation of Virginia Woolf (a prominent historical and literary lectures that gently interrogate the history of women and fiction, A Room of Ones Own carries figure) to local theatre groups, book clubs, historical societies and CWAs (if relevant). striking relevance to contemporary conversations about gender disparity: a crucial topic to • Emphasise the accessibility and energy of the production. share with regional audiences. • Awar Written by Adapted by Peta Hanrahan Clips Full-Length Video: https://www.youtube.com/watch?v=WsifzsB0Rok&feature=youtu.be Directed by Peta Hanrahan Marketing Materials Production Website (including company bios & images): http://www.thevirginiawoolf.com Creative Team Performances by Carolyn Bock, Marissa O’Reilly, Jackson Trickett, Anna Kennedy; Lighting Design & Production Management by Tony Day; Set & Costume Design by Dagmar Gieysztor; Collated Reviews: https://drive.google.com/open?id=0Bz4L2Nz9eqQzdlhTQzFycW5zWjR0NV Sound Design by David Thomson 8wS041R0Y2ZGFMVjRv Poster/Postcard & Media Release Samples: https://drive.google.com/open?id=0Bz4L2Nz9eqQz Artform Drama UWNGNUVnRWF2cEE Marketing Tagline An accessible and energetic stage adaptation of Virginia Woolfs classic essay on women and Social Media: https://www.facebook.com/thevirginiawoolf fiction. Promotional Images https://drive.google.com/open?id=0Bz4L2Nz9eqQzU2VJUVhjYkY5R3c Synopsis “If I could not grasp the truth about women in the past, why bother about women in the future?” Virginia Woolf Community Engagement It would be our pleasure to facilitate Question and Answer forums after the performance and to lead discussion with teachers and students when requested. In Sentient Theatres inaugural piece, we celebrate the beautiful literacy and conceptual genius Activities of one of the greatest writers of the 20th Century Virginia Woolf and her classic work, A Room Content Warning No of Ones Own. Based on a series of lectures by Woolf in 1928 on the subject of women and fiction, Peta Hanrahans adaptation restructures the narrative to feature four performers who represent various aspects of Woolfs mind in conversation with herself and the audience. The piece both energetically debates and gently reflects on the history of gender disparity, while /BUDGET AND FEES keeping Woolfs striking use of metaphor and charming humour alive. Budget Category Tour Ready - production has completed a premiere season and is now seeking presenters to A Room of Ones Own by Virginia Woolf premiered at La Mama Courthouse in 2016, adapted build a tour and source tour funding, if required. and directed by Peta Hanrahan, and featuring performers Carolyn Bock, Marissa OReilly, Jackson Trickett and Anna Kennedy. Remount Cost $ 9500 Today, with leaders worldwide reversing our collective strides towards equality, this accessible production shines a light on our history with astounding relevance to contemporary society. Weekly Fee $ 8250

Short Review “A Room of One’s Own [is] witty, supple, and conducted in a spirit of restless inquiry, anchoring Per-Performance Fee $ emotion with intellect, infusing argument with narrative technique. This luminous, accessible Royalties % 10 production captures the beauty of Woolf’s prose and the complexity of her ideas [and] gives her potent words vivid voice.” Cameron Woodhead, The Age Describe your APRA obligations if applicable Availability 01/04/2018 - 01/12/2019 Budget notes Duration of show in minutes 60 Not including interval

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/TECHNICAL INFORMATION /NOTES

Technical Rating C (A, B, C, D,) as per NTS Format

Technical Links https://drive.google.com/open?id=0Bz4L2Nz9eqQzVDBXU0pQTkpIMFU

Theatre Formats Black Box / Flat Floor / Hall with traverse seating preferred, however, this production is highly adaptable

Bump‑in Time 4 Bump‑out Time 2

In‑Brief Lighting Lamps & Rigging: Most standard rigs will be sufficient. Requirements Power & Control: 24 dimmers and 24 channel lighting console preferred. Control position flexible. Colour: Provided by company

In-Brief Audio Requirements Speakers: 2-4 high quality speakers in optimum position depending on theatre format. Control & Amplification: Standard mixing desk, aux cable (2 xRCA to 3.5mm jack), MacBook Pro with QLab (provided by company), microphones not required.

In-Brief Staging Requirements A raised pro-stage platform with steps sits upstage-centre (depending on seating configuration Describe your set and construction. and pro-stage options available at venue). 10 15 long ropes with folded books are attached to How does it sit on stage? Is a fly the rig behind the audience (if seating configuration is traverse) and upstage behind the pro- system required? Any technical stage platform. We request the use of venue lounge/sofa when available, however, this set item warnings? Do you require an orchestra pit? Piano? Smoke/ is not crucial to the delivery of the production. strobe machine etc?

Stage Dimensions MIN. STAGE WIDTH MIN. STAGE DEPTH MIN. STAGE HEIGHT MIN. WING SPACE (metres) (metres) (metres) (metres) 3 7 4 0

Venue Crew Requirements LIGHTING CREW SOUND CREW STAGE CREW TOTAL VENUE CREW (hours) (hours) (hours) (hours) 0

Crew Notes We request a multi-skilled venue technician is available on-site to assist in trouble-shooting if required.

Transport Notes Minimum 1 x 6- or 7-seater 4WD requested for transportation of touring personnel (and 3 x 10L stackable boxes containing set items/costumes). Can travel by plane.

Industry Reference Elizabeth Jones (Artistic Director) | La Mama Theatre | 03 9347 6948 | [email protected]

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Does the show have an N/A SUPER AMAZING interval, and if so, how long? GIANT GIRL Performance and Premiere season: Touring History ANNA LUMB • 2016 Melbourne Fringe Festival, La Mama Courthouse Theatre, 5 shows, presented by La Mama Upcoming seasons: • 2017 Adelaide Fringe, Garden of Unearthly Delights, 7 shows • 2017 Castlemaine State Festival, Castlemaine Goods Shed, 1 show • 2017 Phee Theatre, Castlemaine, 1 show

Number of People in 3 Contact Person Anna Lumb Touring Party

Email [email protected] Touring Personnel Anna Lumb | Producer/Performer | Yes Tarah Carey | Guest Performer | No Contact Phone 0413 229 173 Technician | Sounds/Lights | No Organisation Website annalumb.com State VIC /MARKETING AND COMMUNITY ENGAGEMENT History and Background I make full length solo theatre works and collaborate on shows and projects with a variety of companies and independent artists. My aim is to make work that is strong, subversive, Key Audience and Visually exciting, highly entertaining, hilarious kids show suitable for families and children ages unique and thought provoking, for adult and family audiences. My aesthetic is highly visual, Marketing Notes 4+. Has broad audience appeal in schools, holiday programs, kindergardens and community entertaining, skilful and accessible with a healthy dose of the absurd. The show celebrates a groups. Sends a positive message through promoting body positivity, accepting differences and strong female role model who overcomes adversity, a message which is valuable and relevant friendship and celebrates a strong female role model who overcomes adversity. Features high for any child, no matter their social context. I’m committed to creating a body of work that skills, audience interaction and a great soundtrack that appeals to both parents and kids. speaks to a wide range of audiences. Marketing Selling Points - Features circus skills, audience interaction, great soundtrack Written by An Lumb - A kids show that can be enjoyed by all ages, content that appeals to kids and parents alike Directed by Outside Eye: Declan Fay - Empowers kids, sends a positive message

Creative Team Devised and Performed: by Anna Lumb, Co-Starring: Tarah Carey, Sound Design: by Thomas - Strong female role model Butt, Outside Eye Direction: Declan Fay - Visually exciting, highly entertaining and hilarious Artform Childrens - Anna has performed for kids of all ages all around the world.

Marketing Tagline Action packed, interactive theatre show for kids. Circus, comedy & ingenious physical theatre. Clips https://www.youtube.com/watch?v=KsQ6U2qEt9M Synopsis Super Amazing Giant Girl is looking for somewhere to live. Spirited, adventurous, and 50ft https://www.youtube.com/watch?v=zM7i933VfRw&t=114s tall she embarks on a journey to the “big” city where she is sure she will fit in. However she https://www.youtube.com/watch?v=fwP13wL8G70 soon realises she must overcome peoples fear of her by demonstrating that size, strength and vulnerability are ultimately great assets to have. Marketing Materials https://www.dropbox.com/home/Showcase%20Victoria%2C%20Super%20Amazing%20 Giant%20Girl Action packed and interactive, this theatre show for kids combines thrilling circus, absurd comedy and ingenious physical theatre. Featuring hula-hoops, roller skates, bananas, really http://www.australianstage.com.au/201610057996/reviews/melbourne/ awesome dancing, surprise guest star (Tarah Carey) and a spectacular soundtrack. http://www.stagewhispers.com.au/reviews/super-amazing-giant-girl Super Amazing Giant Girl explores themes of body positivity, accepting differences, friendship super-amazing-giant-girl-%7C-la-mama-theatre.html and celebrates a strong female role model who overcomes adversity. A fun and immersive theatre experience designed to inspire strength and resilience in little people and big people too! Promotional Images http://www.annalumb.com/

Super Amazing Giant Girl premiered at the 2016 Melbourne Fringe Festival to sell out audiences Community Engagement - Workshops can be offered for a wide variety of age groups and skill levels. These could and good reviews. It has since been booked for three more seasons in Adelaide and Castlemaine. Activities include circus skills such as hula hoops, bottle -balancing, and basic acro. Short Review Its this absurdist, tongue in cheek humour which works so well in “Lumbs latest show not only - Master classes and workshop programs can be developed in consultation with presenters for a are the kids hearts won over by someone who roller skates over bubble wrap, spins a hula hoop specific community group. on her neck while eating a banana and walks over the top of champagne bottles, but the adults - I can present a talk discussing my career as a circus artist with a brief history of circus and are charmed by the duos conspiring winks and nods, as well as a super amazing soundtrack” physical theatre, and Q&A. Australian Stage

Availability 01/01/2018 - 01/01/2020 Content Warning No Duration of show in minutes 45 Not including interval

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/BUDGET AND FEES /NOTES

Budget Category Tour Ready - production has completed a premiere season and is now seeking presenters to build a tour and source tour funding, if required.

Remount Cost $ 8281

Weekly Fee $ 7243

Per-Performance Fee $

Royalties % 10

Describe your APRA Performed music is original (written for the show), recorded music is subject to licensing obligations if applicable through APRA

Budget notes

/TECHNICAL INFORMATION

Technical Rating C (A, B, C, D,) as per NTS Format

Technical Links To be supplied

Theatre Formats Versatile show that can be performed in most venues

Bump‑in Time 4 Bump‑out Time 2

In‑Brief Lighting Basic Lighting rig: Full stage wash, profile specials, LED backlight, USC, DSC, follow spot Requirements More info to be supplied.

In-Brief Audio Requirements Stereo mini-jack input into the PA for QLab DI for Ukulele 2x Hand held radio mic Fold back speakers (preferred but not essential) 1 Hand held radio mi

In-Brief Staging Requirements The set consists of 30-50 cardboard boxes stacked on top of each other to create a miniature Describe your set and construction. cardboard city. Some of the boxes may be lit from within with lighting cord that can be How does it sit on stage? Is a fly powered from the desk. Props and circus equipment are situated in and around the boxes. system required? Any technical Wings and curtains across the back (for cross overs) are preferred but not essential. Contains warnings? Do you require an orchestra pit? Piano? Smoke/ flashing lights, loud music and sound effects. strobe machine etc?

Stage Dimensions MIN. STAGE WIDTH MIN. STAGE DEPTH MIN. STAGE HEIGHT MIN. WING SPACE (metres) (metres) (metres) (metres) 6 5 3

Venue Crew Requirements LIGHTING CREW SOUND CREW STAGE CREW TOTAL VENUE CREW (hours) (hours) (hours) (hours) 4 4

Crew Notes An extra crew member would be beneficial to assist our technician/operator with any adjustment to lighting rig/staging and bumping in and out.

Transport Notes 1 large vehicle such as an SUV or a small van. Technician may use separate vehicle. Can travel by plane.

Industry Reference Anni Davey | 0409 883 063 | [email protected]

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LAMANTE ANGLAISE Performance and • La Mama, 2014 Touring History • La Mama, 2015 OR THE LOVERS OF • fortyfivedownstairs, 2016 VIORNE • fortyfivedownstairs, February 2017 Number of People in 3 CRITICAL STAGES Touring Party Touring Personnel Rob Meldrum | Performer | TBA Jillian Murray | Performer | TBA TBA | Touring Stage Manager | TBA

Contact Person Chris Bendall

Email [email protected] /MARKETING AND COMMUNITY ENGAGEMENT

Contact Phone 02 9252 6340 Key Audience and This is a production that will appeal to adult arts and theatre lovers, and will have particular Marketing Notes appeal for audiences aged 40+ and 65+. Organisation Website criticalstages.com.au The play will also appeal to fans of true crime dramas and murder mysteries in the vein of State VIC Agatha Christie, Truman Capote (In Cold Blood) or Edgar Allen Poe. History and Background Critical Stages is one of Australias leading producers of touring theatre. Its brief is to make The play will appeal to lovers of (especially French) literature and cinema and fans of outstanding independent theatre accessible to audiences everywhere. The company has toured Marguerite Duras, who is best known as the Academy award nominated screenwriter of productions by some of Australias leading theatre makers to regional and remote audiences Hiroshima mon amour (directed by Alain Resnais). across Australia and New Zealand. The work of Critical Stages has won multiple Green Room Awards and has been nominated for a Helpmann Award for Best Regional Touring production. Marketing Selling Points This is an edge of your seat drama that will be both gripping and highly moving for your The company has been awarded National Touring Status from Playing Australia from 2018. audience.

Written by Marguerite Duras The production has proved to be a hit with audiences, & has already had 3 successful sold out seasons in Melbourne. In February 2017 it will have its 4th season due to popular demand for Directed by Laurence Strangio the work.

Creative Team DIRECTOR Laurence Strangio; CAST Rob Meldrum & Jillian Murray The work has had rave reviews by critics and audiences alike.

Artform Drama The other major selling point is the outstanding performances. Jillian Murray won the 2015 Green Room Award for Outstanding Female Performer (independent). Features two of Victorias Marketing Tagline Classic psychological thriller from one of Frances most renowned authors. most experienced senior actors working at the peak of their craft

Synopsis A brutal murder is committed in a small town in France. The dismembered corpse is dropped Clips https://vimeo.com/203051513/a26f06a006 from a railway viaduct onto passing trains belowÉ All except the head. Based upon a true event, Lamante anglaise is a beautifully poignant and emotionally powerful portrait of lost passion and Marketing Materials https://www.dropbox.com/sh/ngiev0je98h6ir6/AAB8oz3sryf05XuP8Qx11ZjDa?dl=0 an extraordinary inner life. Promotional Images https://www.dropbox.com/sh/gdrcnsclcgneha2/AAAvBNvPwIfU5y0cbRfrcnLOa?dl=0 This modern classic psychological thriller from celebrated French author, Marguerite Duras, takes you right inside the heart and mind of the perpetrator and is a fascinating and compelling Community Engagement Q&As and forums available. Activities true crime story. Rob Meldrum is a highly experience teacher (VCA, National Theatre Drama School). Workshops Pierre & Claire are ordinary human beings leading everyday lives until catastrophe occurs. for adults and upper secondary students may be made available as part of a touring itinerary. Over the course of the drama, they effortlessly reveal the beauty and brutality of their inner Content Warning No selves, and create a painstaking portrait of lost passion. Performed exquisitely and directed by Laurence Strangio, LAmante Anglaise is a rare and unmissable work of theatre. It is a rare distinction for any production to have three consecutive seasons in Melbourne, but /BUDGET AND FEES Lamante anglaise proved so popular that its first two seasons at La Mama sold out. After its first season at 45downstairs in 2016, it will see a return season in February 2017. Budget Category Tour Ready - production has completed a premiere season and is now seeking presenters to build a tour and source tour funding, if required. Short Review “Lamante anglaise is a thrilling psychological drama, beautifully served by superb performances. I have rarely been as impressed by performance as I was by this production.” Remount Cost $ 17550 Mary Lou Jelbard, Artistic Director /Co-founder, 45 Downstairs Weekly Fee $ 9658 Availability 30/06/2017 - 30/11/2018 Per-Performance Fee $ Duration of show in minutes 100 Not including interval Royalties % 14

Does the show have an Describe your APRA APRA rights are available and have previously been attained for the one piece of music used in N/A interval, and if so, how long? obligations if applicable the production. Fee is included in royalties above. Budget notes

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/TECHNICAL INFORMATION /NOTES

Technical Rating C (A, B, C, D,) as per NTS Format

Technical Links

Theatre Formats Proscenium Arch, Black Box, Thrust, Flat Floor, Hall

Bump‑in Time 4 Bump‑out Time 2

In-Brief Staging Requirements Describe your set and construction. How does it sit on stage? Is a fly Simple set consisting of 2 chairs in an empty space. Performance can work in multiple system required? Any technical performance configurations. warnings? Do you require an orchestra pit? Piano? Smoke/ strobe machine etc?

Stage Dimensions MIN. STAGE WIDTH MIN. STAGE DEPTH MIN. STAGE HEIGHT MIN. WING SPACE (metres) (metres) (metres) (metres)

Venue Crew Requirements LIGHTING CREW SOUND CREW STAGE CREW TOTAL VENUE CREW (hours) (hours) (hours) (hours) 10 10

Crew Notes In addition to the above, the venue will need to supply a Lighting Operator for all Rehearsal & Performance Calls, as detailed in the Production Schedule (required for 2 hrs per Call) Lighting Crew notes: BUMP IN Pre-rig requested prior to company arrival to permit quick bump-in, including patch, flash and colour. Assist with lighting check, focus and plot during bump-in. 2 crew x 4 hours BUMP OUT Assist de-rig of producer’s equipment 1 x 2 hours Sound Crew notes: BUMP IN Audio pre-rig required prior to company arrival in venue to ensure smooth. BUMP OUT Not required Staging Crew notes: BUMP IN n/a BUMP OUT n/a

Transport Notes The production can tour in a station wagon

Industry Reference Mary Lou Jelbert | fortyfivedownstairs | 03 9662 9966 | [email protected]

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DIRTY WORK COMEDY /MARKETING AND COMMUNITY ENGAGEMENT

Key Audience and Indigenous communities; mainstream comedy audiences, Comedy Roadshow audiences. Marketing Notes Very broad based with multiple ways “in” to the show, from politically engaged audiences to “morning melodies” variety fans.

Contact Person Toby Sullivan Marketing Selling Points Unique, contemporary Indigenous talent; “Standup plus”: music element softens club standup into a more general, affable variety night; Email [email protected] Show is well structured for community presenters who want to build a dinner and show offering Contact Phone 0408 033 251 around the two acts.

Organisation Website Clips https://www.youtube.com/watch?v=AuDsYjQ2q5Q State VIC https://www.youtube.com/watch?v=ZgpzzUbCtVk

History and Background Dirty Work Comedy (DWC) specialises in regional touring of diverse, unique, theatrical voices. Marketing Materials Previous tours have included Damian Callinan in The Merger, The Listies LOL, Mr Bunk in Swamp Juice and The Aboriginal Comedy Allstars. Promotional Images https://www.dropbox.com/sh/tt5yxva9acyt30f/AACtE1eZGbuRmXj58hO5lmFra?dl=0&preview =Dane+21+copy.jpg Written by Dane Simpson Community Engagement We are developing a community engagement/social marketing concept involving flash mobs Directed by Janet A McLeod Activities and online communities.

Creative Team Dane Simpson - cast; Dane Kennedy - cast; Janet A McLeod - director Content Warning No Artform Comedy Marketing Tagline 100% Aussie laughs! Comedian Dane Simpson is one of Australia’s funniest first-nationers. /BUDGET AND FEES Synopsis Wagga comedian Dane Simpson was the breakout star of the 2016 Aboriginal Comedy Allstars, Budget Category In Development - work which will be produced and premiered in time for touring during 2018/19 cracking up the countryside in 55 destinations over 4 months, amidst selling out shows at the Melbourne Comedy Festival. Remount Cost $ 9041

In Aborigi-LOL Dane hits the road again with his muso mate, Dane Kennedy. Dane (Kennedy) Weekly Fee $ 7987 boasts influences such as Ben Harper and Sam Cooke, and has appeared on The X Factor as well as gigging solidly in the Riverina region. Per-Performance Fee $

Dane (Simpson) introduces Dane (Kennedy) to the stage at the start of the show with a short, Royalties % friendly, informal acoustic set. After the break Dane (Simpson) returns with a winning headline set of shamelessly goofy dad jokes, picaresque tall tales and charismatic, observational yarns. Describe your APRA Presenter pays APRA His mate Dane (Kennedy) rejoins him at the end of the set for a song and a bit of a jam with his obligations if applicable guitar and Dane (Simpson’s) didgeridoo. Budget notes Based on fully funded touring costs It’s a highly engaging, highly approachable variety night for two sparkling, emerging Indigenous talents

Short Review “DANE SIMPSON IS PROVING THAT THE BEST COMEDY CAN BE FOUND IN THE MOST GENUINE HUMAN EXPERIENCES.” Daily Advertiser

Availability 01/08/2018 - 01/10/2018

Duration of show in minutes 80 Not including interval

Does the show have an Yes - 15 minutes interval, and if so, how long?

Performance and Touring History

Number of People in 3 Touring Party

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/TECHNICAL INFORMATION /NOTES

Technical Rating D (A, B, C, D,) as per NTS Format

Technical Links

Theatre Formats All

Bump‑in Time 3 Bump‑out Time 1

In‑Brief Lighting Basic wash, one or two specials Requirements

In-Brief Audio Requirements 2 x mic on stand, playback, DI, foldback

In-Brief Staging Requirements Describe your set and construction. How does it sit on stage? Is a fly Very flexible system required? Any technical warnings? Do you require an orchestra pit? Piano? Smoke/ strobe machine etc?

Stage Dimensions MIN. STAGE WIDTH MIN. STAGE DEPTH MIN. STAGE HEIGHT MIN. WING SPACE (metres) (metres) (metres) (metres) 4 2 0.4 1

Venue Crew Requirements LIGHTING CREW SOUND CREW STAGE CREW TOTAL VENUE CREW (hours) (hours) (hours) (hours) 4 4

Crew Notes A single venue operator can operate both lights and sound if the position is configured conveniently enough to do so.

Transport Notes Large van

Industry Reference

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Performance and Nov 6-27 2016, 10 performances, La Mama Courthouse, Presented by La Mama RUST AND BONE Touring History

Number of People in BY CALEB LEWIS 5 Touring Party

Contact Person Daniel Clarke /MARKETING AND COMMUNITY ENGAGEMENT Email [email protected] Key Audience and • Audiences interested in contemporary Australian theatre Contact Phone 0401 377 993 Marketing Notes • Men - the work examines masculinity and therefore would be good to connect with mens’ Organisation Website organisations, Men’s Sheds etc • Audiences interested in literature and adaptation State VIC • Audiences who want intense live experiences History and Background Daniel Clarke has extensive experience touring works and artists nationally and internationally. • Audiences who have attended work that has been devised or celebrated the actor as a story- Artists he has toured include Little Ones Theatre, Sisters Grimm, The Wau Wau Sisters, Penny teller Arcade, Bryony Kimmings and Taylor Mac. As a director he has worked for STCSA, MTC, Brink Productions, Leicester Haymarket Theatre and also directed many independent works including • Adventurous audiences; who want theatrical experiences that makes them feel and think. My Name is Rachel Corrie (fortyfive downstairs) and Palace of the End (Theatre Works). • It is a good piece for school students 16+ in terms of non-naturalistic story-telling

Written by Caleb Lewis Marketing Selling Points • The film Rust and Bone (people who have seen this film will be interested in this Australian adaptation) Connect to cinemas who may have screened the work Directed by Daniel Clarke • Connect with Men’s groups including Men’s sheds and other community groups Creative Team Assistant Director: Penny Harpham Movement Direction by Ingrid Voorendt Set Design • Open discussions//promote discussions about masculinity; expectations, learned behaviours by Jacob Battista Lighting Design by Richard Vabre Sound Design and Composition Chris etc Wenn Performed by Adam Ibrahim, Glenn Maynard and Luke Mulquiney Developed with the • In the round performance - up close to the performers assistance of Playwriting Australia • Connect to any book clubs in the local area and encourage them to read the book and then Artform Drama see the play • The journey of adaptation - the same source material has produced a film and play. Marketing Tagline Three men, three stories; a potent and arresting exploration of masculinity. Clips This is a link to the full archival of Rust and Bone. To access password please email producer, Synopsis Rust and Bone by multi-award winning playwright Caleb Lewis was given its Victorian Premiere Daniel Clarke, [email protected] by Director Daniel Clarke at La Mama Courthouse in Nov 2016. Adapted for the stage by Lewis from Canadian Craig Davidsons short stories, Rust and Bone is an arresting no holds barred https://vimeo.com/208635832 exploration of masculinity that packs a punch and unsettles with its intimacy and honesty. Marketing Materials https://www.dropbox.com/sh/20cjp8lwvurbo18/AAAxKtdAM5z4qXScDi10ZmN1a?dl=0 Lewis has found a distinctly Australian voice in his stage adaptation of Rust and Bone which has also been released as a feature film starring Marion Cottilard. This production was staged in the Promotional Images https://www.dropbox.com/sh/20cjp8lwvurbo18/AAAxKtdAM5z4qXScDi10ZmN1a?dl=0 round giving audiences a very intimate and powerful experience of the play. Community Engagement Director can offer workshops to students or community members interested in performance on Eddie is a fighter; too old and broken to win he continues fighting to atone past sins. James Activities acting, devising, directing breeds and fights pitbull dogs; he wants a child but is he capable of being a father? Ben is a trainer at Sea World whose daily show goes horribly, horribly wrong. This is a brutal world Post show Q&A’s following each performance if required of broken gods and sinuous monsters. The fragility and brutality of these three mens stories Room to scope out additional activities with community groups working with men collide on stage in this stark and poetic production that highlights the power of story-telling. Content Warning Yes - It contains graphic descriptions of violence Short Review “Its impossible to overstate how brutally physical, carefully choreographed and utterly exhilarating Daniel Clarkes production is." Chris Boyd, The Australian http://www.theaustralian.com.au/arts/stage/rust-and-bone-studies-in-masculinity/news-story/ /BUDGET AND FEES 775fa0b4c55d03926411649cf5f214ca Budget Category Tour Ready - production has completed a premiere season and is now seeking presenters to Availability 01/01/2018 - 31/12/2019 build a tour and source tour funding, if required. Duration of show in minutes 75 Remount Cost $ 22200 Not including interval Weekly Fee $ 14100 Does the show have an N/A interval, and if so, how long? Per-Performance Fee $

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Royalties % 14 In-Brief Staging The set is made up of pieces of rostra which join together and sit on any flat surface. There are Requirements Describe your APRA three levels to the performance space - the floor, level one and level two. We bring the rostra Original composition Describe your set and construction. obligations if applicable with us. The venue will need to provide any rostra for seating on each side of the performance How does it sit on stage? Is a fly space. system required? Any technical Budget notes Can split weeks between venues warnings? Do you require an Images attached in Production link orchestra pit? Piano? Smoke/ https://www.dropbox.com/sh/gvnau65x7ls52jl/AAAuqEGCvR1C0X1RUmBCEOeUa?dl=0 strobe machine etc?

/TECHNICAL INFORMATION Stage Dimensions MIN. STAGE WIDTH MIN. STAGE DEPTH MIN. STAGE HEIGHT MIN. WING SPACE (metres) (metres) (metres) (metres) Technical Rating C (A, B, C, D,) as per NTS Format 0.004166667 7

Technical Links https://www.dropbox.com/sh/gvnau65x7ls52jl/AAAuqEGCvR1C0X1RUmBCEOeUa?dl=0 Venue Crew Requirements LIGHTING CREW SOUND CREW STAGE CREW TOTAL VENUE CREW (hours) (hours) (hours) (hours) Theatre Formats This show is presented in the round; so audience on all four sides of performance space.. 12 7 12 31 therefore it needs a versatile black box space, or could be performed in a proscenium arch space but with audience sitting on stage with temporary seating. Could also be adapted to be Crew Notes The stage manager operates the show. peformed in a hall setting too. Crew is needed for bump in, tech and bump out. Bump‑in Time 8 Bump‑out Time 4 Lighting Crew - In‑Brief Lighting PRESENTER TO SUPPLY Sound Crew - Requirements • 36 Dimmers Stage Crew - 2 crew for bump in and bump out • 48 Channel Minimum Console • 26 x 650w Fresnels Transport Notes 1 tonne van • 12 x 650w Wide Profiles 1 car • 4 x 650w Narrow Profiles Industry Reference Caitlin Dullard | La Mama Theatre | 03 9347 6948 | [email protected] • 6 x 1.2k Fresnels • 6 x RGB LEDpars • 4 x QIs or equivalent for Houselights /NOTES • Sufficient cabling for above PRODUCTION TO SUPPLY • 1 x LEDstrip set electrics • 1 x DMX driver LX specs in https://www.dropbox.com/sh/gvnau65x7ls52jl/ AAAuqEGCvR1C0X1RUmBCEOeUa?dl=0”

In-Brief Audio Requirements • 1 x Macbook Pro/iMac • 1 x 6-channel audio interface • 1 x Power adapter for audio interface • 4 x PA speakers & rigging • 1 x Subwoofer • 6 x 20m XLR(m) XLR(f) cable • 6 x TS(m) XLR(m) adapters • 5 x 20m 240v power cable • 6 x 1.5m IEC power cable • 1 x 6-port switchable powerboard • PA speakers are flown. One speaker is placed at each corner of the seating area, panned towards centre stage. • Subwoofer is placed under seating rostra closest to ops. • Audio is direct-out from audio interface. Please see Production folder for full sound specs https://www.dropbox.com/sh/gvnau65x7ls52jl/AAAuqEGCvR1C0X1RUmBCEOeUa?dl=0”

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Performance and Since premiering in Gippsland in 2015, the work has been recreated for 4 different Australian CAN YOU SEE Touring History cities ranging from 2,000-90,000 in population: WHAT WE SEE? • Gippsland Arts Festival, Drouin 2015, 2 performances • Gippsland Arts Festival, San Remo 2015, 2 performances RENAE SHADLER & • Gippsland Arts Festival, Yarram 2015, 2 performances COLLABORATORS • Junction Arts Festival, Launceston 2016, 7 performances Number of People in 3 Touring Party

Contact Phone 0400 543 000 /MARKETING AND COMMUNITY ENGAGEMENT Organisation Website renaeshadler.com Key Audience and The work is aimed at a local audiences, families, and businesses who are curious to experience State VIC Marketing Notes their familiar surroundings animated through the eyes of outsiders. Theatre audiences will be interested to experience a work that is interactive and site specific. The development phase History and Background Renae Shadler & Collaborators create multi-disciplinary performance experiences with local doubles as an opportunity for informal marketing with community through direct engagement communitiy. Our projects engage creatively with site and are created in collaboration with in the creation process, word of mouth and the distribution of flyers. touring artists, local participants, presenters and audiences. Since 2012 we have created work with and for people in Launceston (Junction Arts Festival), Gippsland (Gippsland Arts Festival), Marketing Selling Points CYSWWS creates an engaging contemporary art experience especially for your town. Seeing Horsham (Art Is Festival), Camperdown (Robbie Burns Festival) and Melbourne (Light In your town with fresh eyes stimulates the imagination and promotes a sense of ownership and Winter Festival). In our relatively short-history we have presented works ranging from intimate investment. Participating local artists will develop skills in site-responsive design and journey installations to large scale one-off events based interactive performance. Regional audiences exposure to this form of performance may influence their future appreciation and willingness to experience something new. CYSWWS Written by Maggie Brown, Ree Shadler & local participants is adaptable for smaller communities without venues increasing access to contemporary Directed by Renae Shadler performance.

Creative Team Director/Producer/Performer: Renae Shadler, Collaborator/Performer/Media Artist: Maggie Clips Video trailer 2.5-minutes: https://vimeo.com/186215499 Brown, Sound Design: Sharyn Brand, Stage Manager: TBC Extended-version 40-minutes: https://vimeo.com/140404666

Artform Site-specific journey-based performance Marketing Materials https://www.dropbox.com/sh/0pzrubu0nzzua1h/AAAAIxg-tOcnnTQwSq5xXei5a?dl=0

Marketing Tagline A theatrical walking tour that invigorates towns and communities through curiosity and play Promotional Images https://www.dropbox.com/sh/0pzrubu0nzzua1h/AAAAIxg-tOcnnTQwSq5xXei5a?dl=0

Synopsis Can You See What We See? is a multi-disciplinary walking tour inviting audiences to see Community Engagement Each tour involves, their town from a travellers perspective. Along the way they will experience audio works, Activities • Delivery of the workshops with local participants who co-devise & perform in the contemporary dance, video installations and participatory activities that encourage them to presentations experience their town through fresh eyes. Inspired by Alain de Bottons The Art of Travel this experience invites audiences to walk slower, think deeper and engage with their environment in • An informal community meeting to gain local knowledge & share strategies for audience ways they never expected. development • A site-visit & 2-week development with touring artists Each presentation brings Renae Shadler & Collaborators together with presenters, businesses and three local participants to create a bespoke tour curated around a festival/event theme or Through this process participants, presenters & local businesses will gain skills in facilitating in response to the town, such as old and new communities or ‘urban and natural’ environments. & making site-responsive performance. The residency creates an opportunity for in-depth This intimate work for 26 audience members at a time and built around a core structure, discussion & a personalised approach. The artistic co-ownership of the work is high, “a 1. The audience is invited to draw the landscape as a way to internalise memory rewarding shared experience” - Gippsland Participant 2. Their drawing is revealed to be a post-card and they write their new thoughts on the back Content Warning no 3. They arrive at a post-box and send it to themselves as a memento The work ends at a nearby coffee shop where the group share their experience.

Short Review I interviewed Renae on ABC Gippsland, got interested and decided I must come along. Decided it was a fantastic opportunity and was excited by the potential and mystery of what would happen. It exceeded my expectations!

Availability 01/08/2017 - 12/12/2018

Duration of show in minutes 75 Not including interval

Does the show have an N/A interval, and if so, how long?

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/BUDGET AND FEES /NOTES

Budget Category Ready to Go - available for one-off performances, no remount required

Remount Cost $

Weekly Fee $

Per-Performance Fee $ 1220

Royalties % 5

Describe your APRA obligations if applicable

Budget notes A day’s performance fee can include 3 x 90-minute tours ($405 each) • Prior to the performance Renae Shadler & Collaborators will engage in a residency made up of 4 x 3 day developments costing $8,600 • See budget template in dropbox

/TECHNICAL INFORMATION

Technical Rating D (A, B, C, D,) as per NTS Format

Technical Links https://www.dropbox.com/sh/0pzrubu0nzzua1h/AAAAIxg-tOcnnTQwSq5xXei5a?dl=0

Theatre Formats Public spaces: The tour will take audiences to iconic locations as well as places off the regular site-seeing map.

Bump‑in Time 1.5 Bump‑out Time 1.5

In‑Brief Lighting N/A Requirements

In-Brief Audio Requirements Portable equipment provided by Renae Shadler & Collaborators

In-Brief Staging Requirements Describe your set and construction. How does it sit on stage? Is a fly N/A system required? Any technical warnings? Do you require an orchestra pit? Piano? Smoke/ strobe machine etc?

Stage Dimensions MIN. STAGE WIDTH MIN. STAGE DEPTH MIN. STAGE HEIGHT MIN. WING SPACE (metres) (metres) (metres) (metres)

Venue Crew Requirements LIGHTING CREW SOUND CREW STAGE CREW TOTAL VENUE CREW (hours) (hours) (hours) (hours) 0

Crew Notes Local Assistant Stage Manager required for briefing, dress rehearsal and performances.

Transport Notes No special vehicle required

Industry Reference Frith Loone | Junction Arts Festival | 03 6331 1309 | [email protected]

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Does the show have an N/A ARTS WELLBEING interval, and if so, how long? COLLECTIVE Performance and Thanks to the generosity of the William Buckland Foundation, Arts Centre Melbourne will be Touring History taking the Arts Wellbeing Collective program on the road to six regional hubs during August ROADSHOW 2017 - Geelong Performing Arts Centre, The Lighthouse Theatre Warrnambool, Horsham Town Hall, Capital Venues Bendigo, Wangaratta Performing Arts Centre and the Forge Theatre and ARTS CENTRE MELBOURNE Arts Hub Bairnsdale. Number of People in 2 Touring Party

Contact Phone 03 8699 9599 /MARKETING AND COMMUNITY ENGAGEMENT Organisation Website artscentremelbourne.com.au/about-us/arts-wellbeing-collective

State VIC Key Audience and The Arts Wellbeing Collective Roadshow is specifically tailored at performing arts workers Marketing Notes from all areas including freelancers, managers, dramaturgs, playwrights, mechanists, producers, History and Background The Arts Wellbeing Collective is an Arts Centre Melbourne initiative, delivered in partnership actors, publicists, and venue staff and presenters. Venues are encouraged to extend the offer with Entertainment Assist, and comprises a consortium of Victorian arts and cultural of attendance to local artists and arts organisations, or may team up with other venues in their organisations whose shared vision is to effect better mental health and wellbeing for Victorian region to gain the broadest reach for the program. arts workers. The Pilot Program consists of tailored workshop events for performing arts workers, devised in consultation with provisional psychologist and renowned performing artist Marketing Selling Points This program is targeted at you and your team members. It is appealing as it is specifically Greta Bradman and prominent psychologist Dr Michael Carr-Gregg. It is vital that this program tailored for performing arts workers; developed with leading psychologists; delivered by can be accessed by regional arts workers. experienced, dynamic, engaging and talented facilitators; supported and promoted by Arts Centre Melbourne and Entertainment Assist; based in tenets of rigorous clinical and positive Written by Devised by Arts Centre Melbourne in consultation with leading experts. psychology; and focussed on strengthening performing arts organisations and workplaces.

Directed by Devised by Arts Centre Melbourne in consultation with leading experts. Clips https://www.artswellbeingcollective.com.au/resources/watch-the-video/

Creative Team Greta Bradman - Provision Psychologist and Performing Artist. Dr Michael Carr-Gregg - Marketing Materials https://www.artswellbeingcollective.com.au/ Psychologist. Tracy Margieson - Project Coordinator. Sonia Lindsay - Executive Director, HR Promotional Images https://www.artswellbeingcollective.com.au/wp-content/uploads/2017/01/LOWRESPlayhouse- Artform Professional Development from-rear-of-stage-Photography-John-Gollings.jpg

Marketing Tagline A mental health and wellbeing program for Victorian performing arts workers and workplaces Community Engagement N/A Activities Synopsis The Arts Wellbeing Collective is an Arts Centre Melbourne initiative, delivered in partnership with Entertainment Assist. The Arts Wellbeing Collective comprises a consortium of Victorian Content Warning No arts and cultural organisations whose shared vision is to effect better mental health and wellbeing for Victorian performing arts workers. The Arts Wellbeing Collective will feature workshops, training, and resources all specifically /BUDGET AND FEES tailored to the needs of the arts sector, incorporating tools and strategies from positive psychology, as well as resources from clinical psychology. Topics include: building resilience, Budget Category Ready to Go - available for one-off performances, no remount required how to manage your sense of identity outside of your artistic and creative output, making Remount Cost $ healthier choices when under stress, and strengthening personal and private relationships. The workshop program is being developed by psychologists and relevant experts including Weekly Fee $ provisional psychologist (and renowned performing artist), Greta Bradman, and prominent Per-Performance Fee $ 1500 psychologist, Dr Michael Carr-Gregg. The Arts Wellbeing Collective Roadshow consists of an amalgamation of key modules from across the workshops presented as part of the Arts Royalties % Wellbeing Collective Pilot Program across 2017. Describe your APRA Short Review “Entertainment Assist is excited to be working with Arts Centre Melbourne and believes the obligations if applicable Arts Wellbeing Collective will provide much needed resources for industry employers to support the wellbeing of their workers.” Susan Cooper, Entertainment Assist Budget notes Cost is indicative only - we will always try to work with presenter’s requirements. We are currently seeking support to subsidise this program in order to offer the Arts Wellbeing Participant feedback will be available following the first workshop in March 2017. Collective Roadshow free of charge to presenters in 2018. We recommend that presenters interested in programming the Roadshow in 2017 get in touch with us to discuss, as there may Availability 07/08/2017 - 30/11/2018 be opportunities for subsidy. Duration of show in minutes Up to 120 Not including interval

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/TECHNICAL INFORMATION /NOTES

Technical Rating D (A, B, C, D,) as per NTS Format

Technical Links

Theatre Formats Can be delivered in a theatre space, or board room depending on number of attendees.

Bump‑in Time 1 Bump‑out Time 1

In‑Brief Lighting N/A Requirements

In-Brief Audio Requirements Depending on size of venue, microphone and TV screen required.

In-Brief Staging Requirements Describe your set and construction. How does it sit on N/A stage? Is a fly system required? Any technical warnings? Do you require an orchestra pit? Piano? Smoke/strobe machine etc?

Stage Dimensions MIN. STAGE WIDTH MIN. STAGE DEPTH MIN. STAGE HEIGHT MIN. WING SPACE (metres) (metres) (metres) (metres) 2 2 2

Venue Crew Requirements LIGHTING CREW SOUND CREW STAGE CREW TOTAL VENUE CREW (hours) (hours) (hours) (hours) 4 4

Crew Notes Depending on size of venue, a crew member to assist with set up and AV would be appreciated.

Transport Notes

Industry Reference Kendra Reid | AKA | 03 8866 8302 | [email protected]

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LAMINE SONKO Performance and • WOMADelaide 2017 Touring History • St Kilda Festival 2017 AND THE AFRICAN • White Night Melbourne 2016 • African Music and Cultural Festival 2016 INTELLIGENCE: • Port Fairy Folk Festival 2015 AFRO EMPIRE • Melbourne Arts Centre (The Boite) 2015 • Boolarra Folk Festival 2016 MULTICULTURAL ARTS VICTORIA • Fed Square NYE Headliner 2015 • Melbourne Premier Gala Dinner 2014 • Pier Festival Melbourne -2014 Contact Person Billy Zeik Kelleher Number of People in Email [email protected] 11 Touring Party Contact Phone 03 9188 3681 Touring Personnel Lamine Sonko | Vocalist | yes Organisation Website multiculturalarts.com.au Nick Lester | Saxophone | yes Kumar Shome | Guitar | yes State VIC Romy Hernandez | Keyboard | yes Conrad Henderson | Bass | yes History and Background Lamine Sonko is an award-winning musician and proponent of African arts and culture. He Olive Moynihan | vocals | yes has toured the US and Europe and collaborated on a recent Grammy award-winning album. Ousmane Sonko | percussion | yes The African Intelligence is a 10 piece ensemble which melds his traditional background with Kofi Kunkpe | percussion | yes contemporary influences in Australia. They deliver a rhythmic collision of African roots music, Olugbade Okunade | trumpet | yes jazz, funk, and reggae conveying powerful messages of social equality, cultural diversity. They Daniel Mizzi | drumkit | yes have just released their debut album and touring will provide an opportunity to reach new Seydou Sow | dancer | yes audiences, especially diverse and remote communities

Written by Lamine Sonko /MARKETING AND COMMUNITY ENGAGEMENT Directed by Lamine Sonko Key Audience and World music lovers wanting to see Australia’s top African and world musicians. Music students Creative Team Lamine Sonko - Vocals, Kumar Shome - Guitar, Romy Hernandez-Carbo - Keyboard, Daniel Mizzi Marketing Notes and teachers especially those interested in fusion of traditional and contemporary music. - Drums, Conrad Henderson - Bass, Kofi Kunkpe - Percussion, Olive Moynihan - vocals, Ousmane Dance enthusiasts that are interested in Afro-influenced forms of dance. Migrant and diverse Sonko - Percussion, Nick Lester - Saxophone, Olugbade Okunade - Trumpet communities looking for music that resonates with them and their backgrounds. Artform Live Music Marketing Selling Points The show is based on the bands new album Afro Empire that heralds a new wave in Afro-influenced Marketing Tagline A musical voyage from the sounds of ancient Africa to the global rhythms of funk, jazz and music in Australia.The bands ability to excite audiences and get them dancing is unmatched. reggae. World class African percussionists. Conveys powerful messages of social equality, cultural Synopsis A musical voyage from the raw, sandy sounds of ancient West African empires to the explosive diversity and the importance of indigenous music. One of Australias most accomplished African rhythmic collision of afro-beat, jazz and funk that reverberates throughout the world today. artist. Praised for his compelling melodies and distinct percussive blend of the traditional and It is a show that has proven its ability to engage communities and bring people of all ages and contemporary, Lamine Sonko weaves together an uplifting show that explores powerful backgrounds together. Presents a musical history of Afro-influenced music throughout the world. messages of social equality and cross-cultural understanding. Comprised of some of Australias finest world musicians, The African Intelligence transcend boundaries between ancient Africa Clips https://www.youtube.com/watch?v=hHBOtq-TLAA and the new world diaspora. The show is shaped by the Griot storyteller tradition that Lamine https://www.youtube.com/watch?v=bQFORMZp4dA was born into in Senegal, it tells of the ancient traditions of the Wolof and Mandinko peoples and their journey throughout the world. Lamine Sonko, known as Australias African cultural Marketing Materials www.theafricanintelligence.com journeyman shares his story, music, poetry and dance as a way for people to connect and celebrate in this highly interactive show. https://www.facebook.com/africanintelligence/

Short Review “Not only is he an extremely talented musician but also an incredible singer and dancer, the http://beaveronthebeats.com/?s=lamine+sonko audience was lucky enough to witness true African Music, and be exposed to African tradition https://www.dropbox.com/home/SHOWCASE%20VIC%20 from musicians that have such a beautifully rich cultural background.” THE AU REVIEW 2015. APP?preview=LAMINE+SONKO+AND+THE+AFRICAN+INTELLIGENCE+MEDIA+RELEASE.pdf

Availability 01/09/2017 - 01/12/2017 Promotional Images https://www.dropbox.com/home/SHOWCASE%20VIC%20APP?preview=LSATAI3.jpg Duration of show in minutes 90 Community Engagement Master classes can be provided in African dance and percussion. Interactive performance Not including interval Activities and African drumming workshops for primary and secondary schools. Classes in African choir singing can be provided for local choir groups. Producers will contact local schools and Does the show have an N/A community organisations and reach out through Lamine Sonkos already established networks interval, and if so, how long? as an experienced music and dance educator and choir leader.

Content Warning No

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/BUDGET AND FEES /NOTES

Budget Category Ready to Go - available for one-off performances, no remount required

Remount Cost $

Weekly Fee $

Per-Performance Fee $ 4000

Royalties %

Describe your APRA The group will submit APRA reports obligations if applicable

Budget notes

/TECHNICAL INFORMATION

Technical Rating D (A, B, C, D,) as per NTS Format

Technical Links https://www.dropbox.com/home/SHOWCASE%20VIC%20APP?preview=African+Intelligence+ Stage+Plan+.pdf

Theatre Formats Flexible, can be outdoors. PA system required

Bump‑in Time 2 Bump‑out Time 1

In‑Brief Lighting Lantern stock, spots and gels Requirements

In-Brief Audio Requirements 2 x DI, 3 x Vocal Mics, 1 x guitar amp, 1 x bass amp, drum kit and mic set up, 2 x instrument mics, 7 x percussion mics. Full PA system

In-Brief Staging Requirements Describe your set and construction. How does it sit on stage? Is a fly Standard band set up, drum riser if available. system required? Any technical warnings? Do you require an orchestra pit? Piano? Smoke/ strobe machine etc?

Stage Dimensions MIN. STAGE WIDTH MIN. STAGE DEPTH MIN. STAGE HEIGHT MIN. WING SPACE (metres) (metres) (metres) (metres) 7 7

Venue Crew Requirements LIGHTING CREW SOUND CREW STAGE CREW TOTAL VENUE CREW (hours) (hours) (hours) (hours) 2 8 10

Crew Notes

Transport Notes 1 x 12 seater Van, 1 x freight van

Industry Reference Jill Morgan | Multicultural Arts Victoria | 03 9188 3681 | [email protected]

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/MARKETING AND COMMUNITY ENGAGEMENT

Contact Person Suhasini Seelin Key Audience and 1. Those affected by bush fires in country Victoria would see this work. It is an opportunity to Marketing Notes re-visit issues they have faced, and share their experiences in a post show Q&A if they so Email [email protected] wish. Contact Phone 0421 256 723 2. Others who live in a bush fire prone area but haven’t been affected by past fires would see this to learn about the effects of the natural calamity. Organisation Website 3. Theatre go-ers and drama lovers would go to see this new Australian work with a gripping storyline to experience quality theatre. State VIC ftyjd

History and Background Exit Theatre was founded by actor-director Kristof Kaczmarek in the Yarra Valley, with a vision Marketing Selling Points 1. The show is about real issues faced by those affected by bush fires, which is a recurring threat is to produce plays focusing on human relationships, absurd situations, and the pursuit of the across country Victoria. meaning of life. While focusing mainly on contemporary European plays from the founder’s 2. It is an opportunity for those affected by fires to gain new perspectives, and talk about their heritage, the company also produces modern Australian plays with a multicultural cast. experiences. For others to learn and understand how forces of nature can change lives. The mission of the company is to produce powerful plays and tour across the country to build 3. Directed by multiple award winning actor John Wood. relations and expose regional areas to issues faced by Australians from other areas. 4. New Australian work, written and developed in Yarra Valley. Written by dia Fragnito 5. A post show Q&A that allows the community to share their experiences. A multicultural cast including actors from Polish, Indian and Australian backgrounds.” Directed by John Wood Clips The current show doesn’t have any footage yet, but previous examples of Exit Theatre’s work Creative Team Cast: Kristof Kaczmarek, Suhasini Seelin, Elizabeth O’Callaghan, Ben Freeland can be found here:

Artform Drama Charlie, 2005: https://vimeo.com/53929922

Marketing Tagline A play about coping with bush fire trauma. A story of hope. Fly Guardian, 2016: https://vimeo.com/155618247 The Suicide of Solitude, 2014: https://vimeo.com/109554132 Synopsis The Colour of Fire was written by Nadia Fragnito for a Play Writing Competition run by Exit Theatre in 2014, to encourage new work from the Yarra Valley. The powerful story was chosen Marketing Materials Current Booking Page: http://ach.yarraranges.vic.gov.au/Whats_On/The_Colour_of_Fire#. as the best play and further developed with writers, directors and dramaturgs including John WJp-n29950w Wood. Exit Theatre FB Page: https://www.facebook.com/ExitTheatreInc/ The story is about Eva Williams, an artist who has been affected deeply by the Black Saturday fires, and can only paint in the colours of fire. The impact of loss on her relationships is More materials will be available after the premiere season in March 2017. prominent, but how can she come out of the trauma? Three other characters Alex a young Promotional Images https://drive.google.com/drive/folders/0B7WuxWze6vAjQ3I5QS1HSnJ6SjQ?usp=sharing man, Jack a fire fighter and Heather, an animal rescue volunteer help move her life forward in completely different ways, unknown to her and help her achieve closure. Community Engagement We can offer a Q&A discussion after the show for people to share stories and discuss how “Were a part of natures wheel. And we know that new life will always come around again. So Activities different people were affected by the fires. lets keep movin forward, despite the pain, despite the scars.” A line from the play. Acting masterclasses can also be provided by the cast members, lead by Kristof Kaczmarek for Short Review “I attended a script-reading of The Colour of Fire, and thought it was poignant and powerful. children 15+ and adults. In the context of the Black Saturday bushfires eight years ago, the play was relatable and Content Warning No interesting, and it would be a wonderful experience to see those words read aloud turned into another of Exit Theatres productions.” Jesse Graham, Journalist - Mail News Group

Availability 01/09/2017 - 30/11/2018

Duration of show in minutes 70 Not including interval

Does the show have an Yes - 20 minutes interval, and if so, how long?

Performance and The show will premiere at The Memo, Healesville 16th-19th March, and Warburton Arts Centre Touring History 25-26th March. This premiere season - produced by Exit Theatre and funded by the Shire of Yarra Ranges will have 6 shows, after which it will be tour ready.

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/BUDGET AND FEES /NOTES

Budget Category Tour Ready - production has completed a premiere season and is now seeking presenters to build a tour and source tour funding, if required.

Remount Cost $ 6000

Weekly Fee $ 5750

Per-Performance Fee $

Royalties %

Describe your APRA obligations if applicable

Budget notes Remount cost includes 2 x rehearsal weeks with cast and director. Weekly fee includes equity minimum fee per week for actors and stage manager. The show is flexible for one off shows, cost approx $1500 + travel cost if applicable.

/TECHNICAL INFORMATION

Technical Rating C (A, B, C, D,) as per NTS Format

Technical Links

Theatre Formats Black Box

Bump‑in Time 5 Bump‑out Time 2

In‑Brief Lighting Will be available after the premiere season in March 2017. Requirements

In-Brief Audio Requirements Mixing desk and speakers will be required to play original music and sound effects.

In-Brief Staging Requirements The production includes a minimalist set, with a few props including large, easily moveable Describe your set and construction. picture frames, and locally source-able furniture such as a couch, simple chairs and a table. How does it sit on stage? Is a fly system required? Any technical A Projector and screen will be required for projection. warnings? Do you require an orchestra pit? Piano? Smoke/ Fly system is ideal, but can be worked around. strobe machine etc?

Stage Dimensions MIN. STAGE WIDTH MIN. STAGE DEPTH MIN. STAGE HEIGHT MIN. WING SPACE (metres) (metres) (metres) (metres) 8 5 4

Venue Crew Requirements LIGHTING CREW SOUND CREW STAGE CREW TOTAL VENUE CREW (hours) (hours) (hours) (hours) 2.5 2.5 5

Crew Notes Sound and lighting can be operated by the same crew member. Stated hours are per show, additionally, about 5 hours may be required for bump in.

Transport Notes An 8 seater vehicle would be adequate for transport. The props can be carried in this vehicle and set pieces like furniture can be sourced locally. The production can travel by plane and is flexible.

Industry Reference Andy Miller | Multicultural Arts Victoria | 03 9188 3681 | [email protected]

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DAVE ARDEN Performance and 1. Footscray Community Arts Centre Manager: Lydia Fairhall Touring History 2. Knox Community Arts Centre Manager: Richard Mitchell GUNDITJMARA/KOKATHA 3. The Lighthouse Theatre, Warrnambool Manager: Michael Frawley 4. The Portland Arts Centre Manager: Susie Lyons. SONGMAN, STORYTELLER 5. The Forge Theatre and Arts Hub, Bairnsdale Manager: Janice Haynes. SHOWCASE 6. Esso BHP Billiton Wellington Entertainment Centre, Sale Manager: Andrew Thomson. 7. Latrobe Performing Arts Centre, Traralgon Manager: Kathleen Roberts. MULTICULTURAL ARTS VICTORIA 8. West Gippsland Arts Centre, Warragul Manager: Rob Robson. Number of People in 8 Touring Party

Touring Personnel Dave Arden | Singer, Rhythm Guitarists | Confirmed Contact Person Billy Kelleher Scott Wilson | Lead Guitarists & Vocals | Confirmed Ruben Shannon | Bass Guitarists & Vocals | Confirmed Email [email protected] Dean Matters | Drummer | Confirmed Contact Phone 03 9188 3681 Richard Tankard | Keyboard & Vocals | Confirmed Harry Cooper | Saxophone | Confirmed Organisation Website multiculturalarts.com.au Paris Gadeden | Trombone | Confirmed Mick Thompson | Sound Engineer | Confirmed State VIC Violet Arden | Projection Engineer | Confirmed History and Background Dave Arden wishes to remount his production, Dave Arden Gunditjmara/Kokatha, Songman & Storyteller which is ready to tour, attracting at least 6+ presenters in regional Victoria. The show celebrates Daves songs and stories, along with moving imagery, photographs and spoken word. /MARKETING AND COMMUNITY ENGAGEMENT

Written by Dave Arden Key Audience and Dave Arden will work in partnership with Multicultural Arts Victoria to present and tour the Marketing Notes show. As part of the partnership, MAV will coordinate and manage the tour and undertake a Directed by Dave Arden full marketing and publicity campaign, reaching metro and regional media outlets. MAV will Creative Team Billy Kelleher - Producer, Violet Arden - Co-Producer, Dave Arden - Director produce marketing collateral for distribution in each region. In addition, Dave and Violet Arden and MAV will work closely with the local performance arts centres to access their existing Artform Music Theatre audiences, while using their own contacts to connect with the local Aboriginal communities in the regions. Marketing Tagline Its time That Dave Arden was recognized for his musical Journey. Archie Roach Marketing Selling Points In 2012, Dave Was Nominated For A Deadly Award For Best Male Artist. Synopsis The Dave Arden Gunditjmara/Kokatha, Songman & Storyteller Show is a full band performance of 12 original songs, with a great production team led by Dave and Violet Arden. The show In 2013, Dave Won The Victorian Indigenous Performing Arts Awards For Song Of The Year takes the audience on a journey into his two countries, of the Gunditjmara & The Kokatha tribes, Award For Hes Song Freedom Called. telling his story, of his familys journey over four generations, delving into the hope, joy and In 2014, Dave Won The National Indigenous Arts Awards. struggle of his tribal and urban life. In 2016, Dave Was Nominated For Aboriginal Act Of The Year In The Victorian Music Awards. The 70 minute show will feature Dave Arden’s songbook, accompanied with a backdrop of stories and projected photographic images sequence of Daves family, community & tribal Clips https://www.youtube.com/watch?v=cNKlUm9IIs0 songlines of his two countries, tracing the last 100 years of his ancestry. Looking deeply into Dave’s Aboriginal ancestry, spirituality, culture, lore and respect, the show provides an insight https://www.youtube.com/watch?v=z3wXZcHrcGE into Aboriginal peoples, and their place in Australia. Music, images, and stories interweave to https://www.youtube.com/watch?v=SAmWnxuK8n0 take the audience on a journey of reconciliation and healing. Marketing Materials https://www.dropbox.com/s/tpian8t8icvd4qs/Dave%20Arden%20Show%20Web%20FA%20 Dave is a high accomplished Australia musician and well recognised in the Aboriginal music %286%29.pdf?dl=0 scene. He has performed with Archie Roach, Ruby Hunter, Paul Kelly, Kutcha Edwards and Shane Howard. Currently, he is co-musical director of the Black Arm Band. Promotional Images https://www.dropbox.com/sh/jsya3zcbpwyy2g0/AAD2GUydjPEcPkhcB5rUFiABa?dl=0

Short Review Dave’s show was a valuable and meaningful addition to the 2014 Program at Footscray Community Engagement In addition to the performance, Dave can undertake cultural workshops in the local Community Arts Centre. Dave played through a carefully thought out set of his most loved Activities communities, visiting schools and various communtiy organisations covering Aboriginal history, songs, accompanied by some of the highest calibre of musicians in Melbourne. Dave strikes a cultural awareness and storytelling. balance between consummate technicality and exquisite story telling. It is a show not to be missed. Lydia Fairhall Creative Producer. Content Warning No

Availability 01/06/2017 - 01/06/2018

Duration of show in minutes 75 Not including interval

Does the show have an N/A interval, and if so, how long?

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/BUDGET AND FEES /NOTES

Budget Category Ready to Go - available for one-off performances, no remount required

Remount Cost $

Weekly Fee $

Per-Performance Fee $ 5900

Royalties %

Describe your APRA obligations if applicable

Budget notes

/TECHNICAL INFORMATION

Technical Rating D (A, B, C, D,) as per NTS Format

Technical Links

Theatre Formats Flexible

Bump‑in Time 2 Bump‑out Time 1

In‑Brief Lighting Simple warm wash lighting with spotlight on lead vocalist/storyteller. Requirements Light show on Band.

In-Brief Audio Requirements 2 Direct Inputs. 6 Vocal Mics & Boom Stands. 8 Fold Back Wedges.

In-Brief Staging Requirements Describe your set and construction. How does it sit on stage? Is a fly Basic band set up with Screen and projector required for projections (slideshow of images) and system required? Any technical a Drum Rising. warnings? Do you require an orchestra pit? Piano? Smoke/ strobe machine etc?

Stage Dimensions MIN. STAGE WIDTH MIN. STAGE DEPTH MIN. STAGE HEIGHT MIN. WING SPACE (metres) (metres) (metres) (metres) 6 4 to 5 0.6

Venue Crew Requirements LIGHTING CREW SOUND CREW STAGE CREW TOTAL VENUE CREW (hours) (hours) (hours) (hours) 1 1 1 3

Crew Notes Requiring Lighting Crew. Requiring Sound Crew, But Got our own Sound Engineer. Requiring Staging Crews.

Transport Notes Requiring Plane travel for 1 person. 7 Seat Vehcile and 4 seat Vehicle.

Industry Reference Andy Miller | Multicultural Arts Victoria | 03 9188 3681 | [email protected]

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Does the show have an N/A A TASTE OF AFRICA interval, and if so, how long? ASANTI DANCE THEATRE/ Performance and A Taste of Africa has been presented in a range of schools and communities over the past few Touring History years. Here are just a few of the places we have been; MULTICULTURAL ARTS VICTORIA • 2016 - 8 week tour throughout regional QLD with QMF / Artslink • 2013, 2014, 2015 - 4 week tours throughout regional Victoria with the RAV Education and Families program • 2016 - Fish Creek Town Hall • 2015 - Melbourne Grammar School • 2015 - Mitcham PS2015 - Caroline Springs Springside College Contact Person Belinda Annan • 2014 - Geelong Lutheran College Email [email protected] • 2014 - Bellbrae Community Hall • 2013 - Reservoir West PS Contact Phone 0415 726 886 • 2013 - Geelong College Organisation Website asantidancetheatre.com • 2013 - Wangaratta West PS

State VIC Number of People in 3 History and Background Asanti Dance Theatre have been working with festivals, schools and communities for over 15 Touring Party years. They play, teach, perform and entertain, leaving a long lasting impression well after the Touring Personnel Appiah Annan | Director/Performer | Y performance ends. Ronald Mensah | Performer | Y Having toured regionally, nationally and internationally multiple times the company is experienced Kwame Tosuma | Performer | Y in hitting the road, adapting work and accessing regional and remote communities. They strongly believe that touring is an important part of their practice and recognise the value that they bring to communities as inspiring and engaging diverse contemporary Australian artists. /MARKETING AND COMMUNITY ENGAGEMENT

Written by Asanti Dance Theatre Key Audience and This is a family friendly program that caters for ages 4-104. The artists are highly engaging and Directed by Appiah Annan Marketing Notes have an uncanny capacity to engage participants, observers and even passers by! Regionally the program has been popular with increasingly diverse communities. Australians of Creative Team Appiah Annan - Director/ Performer, Ronald Mensah - Acrobat / Performer, Kwame Tosuma - African decent proudly attend and enjoy the opportunity to share the culture with their friends. Performer Equally, the inclusive nature of the program brings community members of all walks of life Artform Family together. The program was designed to share the artists culture with Australian audiences and in doing so bring communities together. Marketing Tagline A high energy, inclusive program of community dance, music and culture Marketing Selling Points This program has been well received by communities of all ages, abilities and backgrounds Synopsis “My hands are still vibrating from the drumming! My body is still buzzing from the dance... making it an engaging program for the whole community. ASANTI set our school on fire! The kids went completely wild! Even the staff were blown out of their minds!” Thais Sansom, Castlemaine PS Asanti have worked throughout Melbourne, regional Victoria and nationally with venues, schools and councils, performing at festivals and events and teaching workshops for many A Taste of Africa is a popular family friendly program that we have designed after years of years. This is their most popular package. teaching and performing in communities. Having toured extensively throughout Victoria, QLD and internationally, this program has proven success in regional areas. They are known for their ability to seamlessly engage the community, creating a safe and supportive environment for people to participate. Catering for the young and the young at heart, A Taste of Africa includes 1 x 15 min performance, 3 x 30 min workshops (in drumming, dance and village activities), 1 x 5 min Asanti Dance Theatre are Australias leading Afro-contemporary Dance Company. interactive jam session, 1 x 10 min Q & A (total run time 120 min). Clips https://www.youtube.com/watch?v=CNBkpjHYw4I Developed in collaboration with educator Belinda Annan (BCA, BT), A Taste of Africa is an engaging and inclusive community program that caters for the very beginner to the more Marketing Materials https://drive.google.com/open?id=0B1cuzjpav25lQ19ySWdyNFVzZnM advanced. Our facilitators are among Australias best African performers making the program a Promotional Images https://drive.google.com/open?id=0B1cuzjpav25lQ19ySWdyNFVzZnM high quality arts experience for you and your community. Community Engagement While the Taste of Africa is our most popular package on offer we know that it doesnt suit the Short Review “This was by far one of the most popular programs that we have toured and was well received Activities needs of all communities. Below are some alternative options that we would be happy to discuss. by teachers, students and community alike...The students were able to get a “taste” of a variety of African cultures and traditions and they all relished the opportunity to participate...I have no Traditional Performances: These can run from 5 minutes to 1 hour in duration. hesitation in recommending and endorsing this wonderful program. Suzi Cordell - RAV Arts and Ed. Manager Drum workshops: We can cater for up to 100 people per workshop. Duration is between 20 min 1 hour. Dance workshops: Styles that can be taught include traditional African, Afro Hip Hop, Afro Availability 01/01/2018 - 20/12/2019 contemporary and Gumboot dancing. We can cater for up to 100 people per workshop. Duration of show in minutes Duration is between 20 min 1.5 hours” 120 Not including interval Content Warning No

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/BUDGET AND FEES /NOTES

Budget Category Tour Ready - production has completed a premiere season and is now seeking presenters to build a tour and source tour funding, if required.

Remount Cost $ 0

Weekly Fee $ 6600

Per-Performance Fee $

Royalties % 0

Describe your APRA obligations if applicable

Budget notes

/TECHNICAL INFORMATION

Technical Rating D (A, B, C, D,) as per NTS Format

Technical Links

Theatre Formats This program can be adapted to suit most venues.

Bump‑in Time 1 Bump‑out Time 1

In‑Brief Lighting There are no set lighting requirements for A Taste of Africa. We will work with venues to Requirements utilise what they have available to them. The program can be done with no lighting at all or be supported with a more complex lighting rig depending on venue capabilities.

In-Brief Audio Requirements 3 x vocal microphones 3 x Instrumental microphones *Where this is not possible alternative arrangements can be discussed. Can be performed acoustically if needed.

In-Brief Staging The program requires 1-3 large spaces to be available (depending on number of participants). Requirements The space used for the performance elements needs to be large enough to fit all audience Describe your set and construction. members in as well as allow a minimum performance space of 5m x 4m. How does it sit on stage? Is a fly system required? Any technical The other 2 spaces need to be large enough to fit at least 1/3 of the community group comfortably warnings? Do you require an in (people are broken into 3 groups for the workshops and rotate between the activities). orchestra pit? Piano? Smoke/ strobe machine etc? Where this is not possible or there are less than 100 participants, communities can remain in the one space and we adapt the workshops accordingly. The drumming workshops will require enough chairs for all participants to sit on while they are drumming. We provide drums for each participant to use during the program.

Stage Dimensions MIN. STAGE WIDTH MIN. STAGE DEPTH MIN. STAGE HEIGHT MIN. WING SPACE (metres) (metres) (metres) (metres) 5 4 to 5 3

Venue Crew Requirements LIGHTING CREW SOUND CREW STAGE CREW TOTAL VENUE CREW (hours) (hours) (hours) (hours) 0

Crew Notes Venue will only need to supply crew where they have lighting and audio available. Minimum staffing will be ample for this program.

Transport Notes A 1 tonne, 12 seater van will be required for touring

Industry Reference Suzi Cordell | Regional Arts Vic | 0402 460 080 | [email protected]

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FRAGILE MATTER Availability 01/04/2017 - 31/03/2020 Duration of show in minutes 45 TASDANCE Not including interval

Does the show have an N/A interval, and if so, how long?

Performance and 2017 Touring History • Tasdance in association with Ten Days on the Island • Moonah Arts Centre Hobart 5 performances 16-18 March 2017 • Princess Theatre Launceston 2 performances 24 March 2017 Contact Person Felicity Bott Fragile Matter has also premiered in Salzberg and Hong Kong Email [email protected] Number of People in 11 Contact Phone 03 6331 6644 Touring Party

Organisation Website tasdance.com.au Touring Personnel Felicity Bott | Artistic Director | Yes Gabriel Comerford | Dancer | Yes State TAS Robert Flehr | Dancer | Yes Bec Jones | Dancer | Yes History and Background Tasdance is a regionally based professional contemporary dance company nationally Olivia McPherson | Dancer | Yes recognised for high quality main stage works that engage regional audiences. Jack Riley | Dancer | Yes Tasdance creates new and dynamic contemporary dance, nurture emerging dance artists, and Nikki Tarling | Dancer | Yes inspire the community to participate in and develop a passion for dance, particularly in regional Isabella Stone | Dancer | Yes Australia. Robert Tinning | Dancer | Yes Carol Wellman-Kelly or Felicity Bott | Rehearsal Director | Yes Since 1981, Tasdance has produced work by over 90 Australian choreographers, receiving multiple industry awards. Most recently, our Threefold and Luminous Flux regional touring programs were nominated for Australian Dance and Helpmann Award /MARKETING AND COMMUNITY ENGAGEMENT Written by Paul Blackman and Christine Gouzelis Key Audience and Performing arts lovers high quality contemporary dance, created internationally Directed by Paul Blackman and Christine Gouzelis Marketing Notes Teachers, students - themes are relevant across the curriculum. Tasdance offers in-school Creative Team Artistic direction: Felicity Bott, Choreographers: Christine Gouzelis and Paul Blackman workshops for further learning (Jukstapoz) Rehearsal Director Carol Wellman Kelly Performers: Tasdance Company Dancers, Production & Touring Manager Darren Willmott, Sound Design/Music Murcof, Ben Frost, Well-educated professionals Themes explored are highly relevant to world issues offering Alessandro Scarlatti, Amon Tobin, Jozef Van Wissem, Devo Lighting Design Luca Sirvi opportunities for discussion and forums recreated by Darren Willmott, Text: Charlie Chaplin, The Great Dictator, Puppet Design: Dimitris Active people who are open to experiences, adults in tune with their creative side and young Nassiakos, Dancers: Gabriel Comerford, Robert Flehr, Bec Jones, Olivia McPherson, Jack Riley, adults Through theatricality, the piece provides accessibility and immersion Isabella Stone, Nikki Tarling, Robert Tinning Regional community groups Tasdance tailors community engagement activities around Artform Dance performances

Marketing Tagline “More than machinery we need humanity, more than cleverness we need kindness and Marketing Selling Points Paul Blackman & Christine Gouzelis of Jukstapoz are highly respected and internationally gentleness” Chaplin renowned choreographers. Synopsis Charlie Chaplins soul-enlivening spirit permeates this bold offering from Christine Gouzelis & A full scale work with 8 professional dancers who deliver an elite, highly physical and theatrical Paul Blackman, co-directors of Jukstapoz and Tasdances latest international collaborators. performance Fragile Matter was created in Hong Kong and further developed in an artistic collaboration The themes of the work are relevant to current world issues, the clear storyline allowing the focused on the integration of performative and theatrical elements in contemporary dance. It audience to dive deep into the dramatic plot and be immersed in an emotional performance premiered in Europe at the 2016 New Faces New Dances festival in Salzburg and will premiere Presenters should engage Tasdance knowledge about tailoring community engagement in Australia at the 2017 Ten Days on the Island Festival. Jukstapoz uses dance, theatre, music, activities to create awareness about the works prior to the company arriving and during the and puppetry to create a narrative and historical adventure. Based on the principals of a true season dictatorship and inspired by Charlie Chaplins The Great Dictator, the clear storyline allows the audience to dive deep into the dramatic plot and be immersed in an emotional performance. Clips https://youtu.be/b8Cd6N-uRYE (Fragile Matter short marketing video) Using the body as a metaphor for war and unity, eight embattled dancers rally, resist and break out with delicate grace. Deftly melding collectivity with the personal,Fragile Matteris both https://www.youtube.com/watch?v=kDX4ON0riJg fiercely physical and intimate, with a potent sound score to match. Storm and stress encounters (Highlights from The Howl - Example of previous Tasdance work) fragility and lyricism in this inspiring and thrilling performance. Marketing Materials http://www.tasdance.com.au/fragile-matter/ Short Review “Energetic scenes emulating combat training and military drill, alternate with lyrical moments http://www.tasdance.com.au/about/ of danced storm and stress. The thrilling performance was accompanied by adiverse sound enmeshing tough electro beats with baroque.” Salzburger Nachrichten https://www.facebook.com/tasdance/ Additional marketing materials will be available in late 2017

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Promotional Images https://www.dropbox.com/sh/c6hyw4gjfcpgnzn/AACtxYm7mYWSiBT_nr25Cueoa?dl=0 Stage Dimensions MIN. STAGE WIDTH MIN. STAGE DEPTH MIN. STAGE HEIGHT MIN. WING SPACE (metres) (metres) (metres) (metres) Community Engagement For an additional fee of $850, we can engage a community and social engagement arts Activities facilitator to Tailor community engagement activities that prefigure the performance season 9 9 5 2 by up to a month. These include active audience engagement program, masterclasses, school Venue Crew Requirements LIGHTING CREW SOUND CREW STAGE CREW TOTAL VENUE CREW workshops and pre and post-show talks. (hours) (hours) (hours) (hours) Content Warning Yes - 2-3 minutes of loud vocal noise 14 3 4 21

Crew Notes /BUDGET AND FEES Transport Notes Tasdance tours with a one tonne van and would travel from Tasmania via the Spirit of Tasmania

Budget Category In Development - work which will be produced and premiered in time for touring during 2018/19 Industry Reference Tim Munroe and Don Hopkins | Theatre Royal | 03 6233 2313 | [email protected] Remount Cost $ 13780

Weekly Fee $ 13990 /NOTES

Per-Performance Fee $

Royalties % 3

Describe your APRA APRA approval is required and will be sought on a season-by-season basis obligations if applicable

Budget notes This is a large scale work with 8 dancers. The total cost of a remount is $33,780. Tasdance will subsidise $20,000 of the total cost of remounting the work.

/TECHNICAL INFORMATION

Technical Rating B (A, B, C, D,) as per NTS Format

Technical Links www.tasdance.com.au - available April 2017

Theatre Formats Proscenium Arch, Black Box, Thrust

Bump‑in Time 6 Bump‑out Time 2

In‑Brief Lighting Lx plans will be supplied to suit venues on tour. Lamp specification negotiable. Requirements • Overhead Wash - 18 x 1k fresnel (9xL200 & 9xL201) • Overhead specials - 6 x 650w profile (2xL200 &4x L201) • FOH wash - 4 x 1k profile (4xL201) • FOH special - 2 x 1k profile (2xL201) • side light - 16 x 650 profile or par 64 mfl • back light - 8 LED multipar or par 64 mfl

In-Brief Audio Requirements FOH system full range including sub 4 x foldback Company tours with laptop for playback

In-Brief Staging Requirements black masking traverse first option / standard second option Describe your set and construction. How does it sit on stage? Is a fly Flooring: company tours with tarkett and tape system required? Any technical warnings? Do you require an Fly system not required, can be fixed grid orchestra pit? Piano? Smoke/ strobe machine etc?

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Performance and 2016 - Doncaster Playhouse - Senior Citizens Week. CHEEK TO CHEEK Touring History

- A TRIBUTE TO Number of People in 3 FRED ASTAIRE AND Touring Party Touring Personnel Ross Hannaford | Dancer/Singer | Yes GINGER ROGERS Amy Berrisford | Dancer/Singer | Yes Nick Bassett | Stage Manager | Yes WINDING ROAD PRODUCTIONS /MARKETING AND COMMUNITY ENGAGEMENT Contact Person Melissa Langton Key Audience and Cheek to Cheek is perfect for a matinee audience (55 - 80 yo.). It’s literally like stepping Email [email protected] Marketing Notes back in time! The show is fully choreographed and costumed. Ross and Amy have faithfully recreated the routines of Astaire and Rogers - their dancing is gloriously romantic and at times Contact Phone 0412 561 291 breathtakingly beautiful. This is an incredibly classy Morning Melodies-styled show - and the Organisation Website windingroadproductions.com.au matinee crowds that have seen it have absolutely adored it.

State VIC Marketing Selling Points Ross and Amy have performed in an array of professional Musical Theatre from Cats to We Will Rock You to Wicked and Sweeney Todd. They are constantly in demand due to their History and Background As performers, we have been touring Australia with cabarets and music theatre shows for over incredible dancing and singing skills. Amy is one of Australia’s foremost tappers so she’s perfect 25 years! Many of the venues whove hired us have asked; casting for Ginger Rogers whilst Ross, who has a background in ballet has completely mastered Astaire’s fluid style. “Great! What else do you have for us and are there other shows you can recommend?” Clips https://vimeo.com/163644514 The answer to that is definitely YES! We often see small scale shows that are perfect for touring and we’ve decided it’s time we bring them to your attention! Our new company Winding Road https://www.youtube.com/watch?v=63q2qiEiIE0 Productions is focused on getting these brilliant cabaret shows and musical events out on the road and into your venue! Marketing Materials https://www.dropbox.com/sh/qj9gqwh0w1na4sz/AADZAvgpIRPECqG4OhCCc8_ua?dl=0

Written by Ross Hanford and Amy Berrisford Promotional Images https://www.dropbox.com/home/James%20Taylor%20-%20Bittersweet%20and%20Low

Directed by Ross Hannaford and Amy Berrisford Community Engagement Mark Jones and Melissa Langton run masterclasses in cabaret and musical theatre consistently Activities in Melbourne. Both also work at The Australian Institute of Music so lots of masterclass options Creative Team Ross Hannaford - Dancer/Singer. Amy Berrisford - Dancer/Singer are available.

Artform Cabaret Content Warning No

Marketing Tagline An all-singing, all-dancing celebration!

Synopsis Cheek to Cheek is an all-singing, all-dancing celebration of the romance, the glamour, the /BUDGET AND FEES elegance of Hollywood’s most iconic song and dance partnerships - the immortal Astaire and Rogers. Budget Category Ready to Go - available for one-off performances, no remount required

This unique show features some of the most exquisite dance sequences ever conceived for film, Remount Cost $ a chance to see the flair and skill of the two Silver screen legends recreated live on stage by two of Australias brightest young music theatre performers. Weekly Fee $

Featuring classic songs including the Academy Award winning ‘Night and Day’, ‘Let’s Call the Per-Performance Fee $ 3600 Whole Thing Off’, ‘Top Hat, White Tie and Tails,’ ‘They Can’t Take that Away from Me’ & ‘The Way You Look Tonight’. Royalties %

Short Review This is a brand new show. No reviews available. Describe your APRA obligations if applicable Personal Reviews “The delightful, genuine triple threat of Ross Hannaford’s Skimbleshanks” The Age Budget notes This price is for the 4 piece so may vary if the band members are varied. This price does not include travel and accommodation. All performers are based in Melbourne. “Amy Berrisford (as Bombalurina) brings down the house with the raunchy Macavity that is both physically and vocally a highlight of the second act” Aussie Theatre

Availability 01/01/2018 - 31/12/2019

Duration of show in minutes 80 Not including interval

Does the show have an Yes - 20 minutes interval, and if so, how long?

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/TECHNICAL INFORMATION /NOTES

Technical Rating D (A, B, C, D,) as per NTS Format

Technical Links http://members.ozemail.com.au/~doublemm/windingroadproductions/cheek_to_cheek/cheek_ to_cheek_tech_specs/cheek_to_cheek_tech_specs.html

Theatre Formats All. Stage Format Preferred

Bump‑in Time 2 Bump‑out Time 1

In‑Brief Lighting Basic Cabaret/Band Lighting Requirements • 3 Specials across the front • Wash for Group Numbers • Basic Colours • Pianist’s Music lit from above

In-Brief Audio Requirements • Grand Piano • Backline Sound • 2 radio mics • 2 mic stands (round based if possible) • Boom Mic for pianist and guitarist • Piano mic’d from underneath • 4 fold back wedges • Reverb on sound desk.

In-Brief Staging Very basic cabaret set up. Requirements Grand piano on stage as the pianist is a big part of the show. Describe your set and construction. How does it sit on stage? Is a fly Stools, microphones and stands. system required? Any technical warnings? Do you require an Basic Cabaret Lighting orchestra pit? Piano? Smoke/ strobe machine etc? No flys/orchestra pit required Smoke machine can be used if desirable to venue but not essential

Stage Dimensions MIN. STAGE WIDTH MIN. STAGE DEPTH MIN. STAGE HEIGHT MIN. WING SPACE (metres) (metres) (metres) (metres) 5 4 0.2

Venue Crew Requirements LIGHTING CREW SOUND CREW STAGE CREW TOTAL VENUE CREW (hours) (hours) (hours) (hours) 4 4 8

Crew Notes

Transport Notes All performers are based out of Melbourne so own vehicles would be provided. This would incur some travel/petrol expenses.

Industry Reference Vito | Clocktower Centre | 03 9243 9191 | [email protected]

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/MARKETING AND COMMUNITY ENGAGEMENT

Key Audience and This show is aimed towards an older audience. It could be presented as both a daytime or Marketing Notes evening show. This show would compliment all other genres as it is rare to have an opera Contact Person Melissa Langton performer who is proficient in performing in a cabaret atmosphere.

Email [email protected] Marketing Selling Points David has played lead roles in many operas for both The Victorian Opera and Melbourne Opera. He also toured at length with Phantom of the Opera in a lead role and Les Miserables. He has Contact Phone 0412 561 291 performed in many concerts and cabaret which makes him a very entertaining opera singer! Organisation Website windingroadproductions.com.au Pavarotti repertoire is much more accessible than most opera as he not only sang ‘popular’ opera, but also performed popular contemporary music. He also lead a colourful life and was State VIC quite a character which David will deftly portray onstage.

History and Background As performers, we have been touring Australia with cabarets and music theatre shows for over Clips https://soundcloud.com/melissa-langton/nessun-dorma-david-rogers-smith 25 years! Many of the venues whove hired us have asked; Marketing Materials https://www.dropbox.com/sh/98htuu72mj0q4iz/AAC4TUiWGrlKdB3HsNCVH9fqa?dl=0 “Great! What else do you have for us and are there other shows you can recommend?” https://www.dropbox.com/sh/kvfx9cm36ukx2bz/AADkdEoqZ0lFHknj0-38TQxya?dl=0 The answer to that is definitely YES! We often see small scale shows that are perfect for touring Promotional Images https://www.dropbox.com/sh/5l7wuc1ifwp33gg/AABFkyDMZtDVx7Ir0haFoZYUa?dl=0 and we’ve decided it’s time we bring them to your attention! Our new company Winding Road Productions is focused on getting these brilliant cabaret shows and musical events out on the Community Engagement David has performed and auditioned at length for musical theatre and opera. He could happily road and into your venue! Activities provide workshops and/or masterclasses in either of these fields. David also has a Degree and Bachelor of Education in Music. Written by David Rogers-Smith & Mark Jones Content Warning No Directed by David Rogers-Smith & Mark Jones

Creative Team Lead Performer - David Rogers-Smith. Musical Director - Mark Jones /BUDGET AND FEES

Artform Cabaret Budget Category Ready to Go - available for one-off performances, no remount required

Marketing Tagline The Man. The Music. The Life. Remount Cost $

Synopsis Pavarotti - The King of The High Cs Weekly Fee $ The Music. The Voice. The Life. Per-Performance Fee $ 2900 A thrilling musical biography of one the finest classical artists of the 20th Century. Royalties % Selections include: Nessun Dorma, La Donna Mobile, Vesti la giubba, Ave Maria, O sole mio, My Way & La Vie en Rose. Describe your APRA obligations if applicable Woven into this exquisite program of arias and popular song are stories and anecdotes from Pavarottis life and his career which paint a vivid portrait of Pavarotti the artist and Pavarotti the man. Budget notes This fee includes both piano and cello. Having cello is preferred but can be cut if absolutely necessary. All performers are Melbourne based. This fee does not include travel or accommodation. Performed by David Rogers-Smith (Carmen, Madam Butterfly, Pagliacci & The Phantom of the Opera) Devised & Musically Directed by David Rogers-Smith & Mark Jones.

Short Review "A thinking mans Shane Jacobsen..with serious acting chops” Arts Review

Availability 01/06/2017 - 31/12/2019

Duration of show in minutes 80 Not including interval

Does the show have an Yes - 20 minutes interval, and if so, how long?

Performance and This is a brand new show. Touring History

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/TECHNICAL INFORMATION /NOTES

Technical Rating D (A, B, C, D,) as per NTS Format

Technical Links https://www.dropbox.com/sh/h01dq5mjav81zaw/AACLFc-xD9GqvnGo-JxSctwta?dl=0

Theatre Formats All. Theatre format preferred

Bump‑in Time 1 Bump‑out Time 1

In‑Brief Lighting Basic Cabaret Lighting Requirements • 3 Specials across the front for soloist • Wash for bigger numbers • Basic Colours • Pianist’s Music lit from above • Cellist to perform in special

In-Brief Audio Requirements • Grand Piano • 1 radio mic for vocalist • 1 mic stand (round based if possible) • Boom Mic for pianist and cellist • DI for cellist • Piano mic’d from underneath • 4 fold back wedges • Reverb on sound desk.

In-Brief Staging Very basic cabaret set up. Requirements • Grand piano on stage. Describe your set and construction. • Cellist stool How does it sit on stage? Is a fly system required? Any technical • Stools, microphones and stands. warnings? Do you require an • Basic Cabaret Lighting orchestra pit? Piano? Smoke/ strobe machine etc? • No flys/orchestra pit required • Smoke machine can be used if desirable to venue but not essential

Stage Dimensions MIN. STAGE WIDTH MIN. STAGE DEPTH MIN. STAGE HEIGHT MIN. WING SPACE (metres) (metres) (metres) (metres) 4 3 0.2

Venue Crew Requirements LIGHTING CREW SOUND CREW STAGE CREW TOTAL VENUE CREW (hours) (hours) (hours) (hours) 4 4 8

Crew Notes Very straightforward. Lighting and Sound could also be operated by one technician if required.

Transport Notes As all performers are Melbourne based, own vehicles would be used. This could result in some extra travel allowances.

Industry Reference Vito Matarelli | Clocktower, Moonee Ponds | 03 9243 9191

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Performance and N/A UPTOWN GIRLS - THE Touring History

Number of People in SONGS OF BILLY 3 Touring Party

/MARKETING AND COMMUNITY ENGAGEMENT Contact Person Melissa Langton Key Audience and Billy Joels music is popular with a broad demographic because his songs are so varied in style. Email [email protected] Marketing Notes For this reason we have create two versions of this show to serve two sections of the market: Contact Phone 0412 561 291 1. Our evening show includes a broad cross section of Joels repertoire, its a little raunchier, a little rockier, a little wilder! This show is pitched at a general audience (35 - 70 yo.) and is Organisation Website windingroadproductions.com.au ideally performed with two additional musicians (bass and drums). State VIC 2. Our morning/afternoonshows are aimed at an older audience. (55 - 80 yo.) These shows gentler, featuring more ballads and light pop. History and Background As performers, we have been touring Australia with cabarets and music theatre shows for over 25 years! Many of the venues whove hired us have asked; Marketing Selling Points Billy Joel is truly one of the superstars of the 70s and 80s and his music is as popular today as it ever was. Theres a huge fan base for his music in all corners of the country. “Great! What else do you have for us and are there other shows you can recommend?” Melissa and Libby have toured the country together with two very successful and similarly The answer to that is definitely YES! We often see small scale shows that are perfect for touring themed shows, Get Back: The Lennon & McCartney Songbook and Flat on Your Bacharach. and we’ve decided it’s time we bring them to your attention! Our new company Winding Road Productions is focused on getting these brilliant cabaret shows and musical events out on the They have also toured separately in various shows - The Fabulous Singlettes and The Cowgirl road and into your venue! and The Showgirl. There should be a strong recognition factor in most regional areas which will be useful in promoting the show. Written by Mark Jones, Libby O’Donovan & Melissa Langton Clips https://www.dropbox.com/sh/1zjyoy2xd35tne2/AAAEUEwByezdJlWWXFtTzk1ja?dl=0 Directed by Mark Jones Marketing Materials https://www.dropbox.com/sh/1zjyoy2xd35tne2/AAAEUEwByezdJlWWXFtTzk1ja?dl=0 Creative Team Melissa Langton, Libby O’Donovan & Mark Jones Promotional Images https://www.dropbox.com/sh/1zjyoy2xd35tne2/AAAEUEwByezdJlWWXFtTzk1ja?dl=0 Artform Cabaret Community Engagement Mark Jones and Melissa Langton run masterclasses in cabaret and musical theatre consistently Marketing Tagline Billy Joel and the hottest harmonies on the planet. Activities in Melbourne. Both also work at The Australian Institute of Music so lots of masterclass options Synopsis Uptown Girls - the songs of Billy Joel are available. Did Libby ODonovan rock your world in Flat On Your Bacharach? Content Warning No Did Melissa Langton leave you breathless in The Fabulous Singlettes? When they got together for Get Back: the Lennon & McCartney Songbook was it almost too much? /BUDGET AND FEES Did you weakly gasp for more? Budget Category Ready to Go - available for one-off performances, no remount required Theyre back, with a tribute to the great Billy Joel! Remount Cost $ Uptown Girls features Libby and Melissa performing all new arrangements of Billy Joel classics infused with their trademark vocal pyrotechnics, breathlessly close harmony and off-beat Weekly Fee $ humour. Per-Performance Fee $ 3000 Devised and arranged by Mark Jones Royalties % Another brilliant cabaret from the team who brought you Get Back: The Lennon & McCartney Songbook. Describe your APRA obligations if applicable Short Review This is a brand new show. No reviews available. Budget notes This fee does not include travel or accomodation. Availability 01/01/2018 - 31/12/2019

Duration of show in minutes 80 Not including interval

Does the show have an Yes - 20 minutes interval, and if so, how long?

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/TECHNICAL INFORMATION /NOTES

Technical Rating D (A, B, C, D,) as per NTS Format

Technical Links https://www.dropbox.com/s/dg2yfzr6bfkm4mg/Stage%20Setup%20%26%20Tech%20 Requirements.jpg?dl=0

Theatre Formats All. Stage Format Preferred

Bump‑in Time 2 Bump‑out Time 1

In‑Brief Lighting Basic Cabaret Lighting Requirements • 3 Specials for Solo Songs • Wash for Group Numbers • Basic Colours • Pianist’s Music lit from above

In-Brief Audio Requirements • Grand Piano • 3 radio mics • 2 mic stands (round based if possible) • Boom Mic for pianist • Piano mic’d from underneath • 3 fold back wedges on 3 different sends • Reverb on sound desk.

In-Brief Staging Very basic cabaret set up. Requirements • Grand piano on stage as the pianist is a big part of the show. Describe your set and construction. • Stools, microphones and stands. How does it sit on stage? Is a fly system required? Any technical • Basic Cabaret Lighting warnings? Do you require an • No flys/orchestra pit required orchestra pit? Piano? Smoke/ strobe machine etc? • Smoke machine can be used if desirable to venue but not essential

Stage Dimensions MIN. STAGE WIDTH MIN. STAGE DEPTH MIN. STAGE HEIGHT MIN. WING SPACE (metres) (metres) (metres) (metres) 4 3 0.2

Venue Crew Requirements LIGHTING CREW SOUND CREW STAGE CREW TOTAL VENUE CREW (hours) (hours) (hours) (hours) 4 4 8

Crew Notes Very basic cabaret sound and lighting. Lighting plot will be made available

Transport Notes 3 performers with a normal amount of luggage No instruments or set required.

Industry Reference Vito Matarelli | Clocktower, Moonee Ponds | 03 9243 9191 | [email protected]

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YOU’RE MY WORLD /MARKETING AND COMMUNITY ENGAGEMENT

- THE CILLA Key Audience and You’re My World is ideal for audiences aged 40 years and up. Marketing Notes BLACK STORY We have created two versions of the show: 1. A gentle morning/afternoon show for an older audience (60 - 80) WINDING ROAD PRODUCTIONS 2. A slightly more dynamic evening show which includes Cillas rock repertoire as well as the classic ballads. (40 - 70). The evening show is ideally performed with 3 musicians and the morning/afternoon show works best with 2. Contact Person Melissa Langton Marketing Selling Points Cilla Blacks music is an easy sell for the 60s/70s nostalgia market. She was a best selling Email [email protected] recording artist and a television personality for over 40 years! Danielle is a seasoned musical theatre performer and plays the part of Cilla Black in costume, Contact Phone 0412 561 291 telling Cilla’s stories in Cilla’s voice. She channels this icon of the 60s, with uncanny accuracy, Organisation Website windingroadproductions.com.au live onstage with 3 of Melbourne’s finest musicians.

State VIC Clips https://www.dropbox.com/s/uvvf2vegncj35dt/CILLA%20BLACK%20SHOWREEL.mp4?dl=0

History and Background “As performers, we have been touring Australia with cabarets and music theatre shows for over Marketing Materials https://www.dropbox.com/sh/rfajtkbcd1y7qf0/AAAmsU0asyKySeBi85f-E_-Ga?dl=0 25 years! Many of the venues whove hired us have asked; Promotional Images https://www.dropbox.com/sh/3lnvkmfqzaj1u9m/AAAlouvzsOLF6H3HZtO7bU_Pa?dl=0 “Great! What else do you have for us and are there other shows you can recommend?” Community Engagement Danielle and Mark can provide cabaret and/or musical theatre masterclasses for students of any The answer to that is definitely YES! We often see dynamic smaller shows that are perfect Activities age. for touring and we’ve decided it’s time we bring them to your attention! Our new company Winding Road Productions is focused on getting these brilliant cabaret shows and musical Content Warning No events out on the road and into your venue!

Written by Danielle O’Malley /BUDGET AND FEES Directed by Danielle O’Malley & Mark Jones Budget Category Ready to Go - available for one-off performances, no remount required Creative Team Performer - Danielle O’Malley. Musical Director - Mark Jones Remount Cost $ Artform Cabaret Weekly Fee $ Marketing Tagline A biographical cabaret full of 60’s Pop and off beat humour! Per-Performance Fee $ 2700 Synopsis We meet the British Pop Icon and Television Personality at the peak of her popularity, belting out Anyone Who Had A Heart and Alfie and reminiscing about her childhood in Liverpool, her Royalties % meteoric rise to fame and sharing a few cheeky showbiz anecdotes about John, Paul, George, Describe your APRA Ringo and her old mate Queen Elizabeth II! obligations if applicable Songs include: Alfie, You’re My World, Youve Lost That Lovin Feelin, Anyone Who Had A Heart, It’s for You, Step Inside Love, Yesterday and Dancing in the Street. Budget notes This price does not include travel or accommodation and is based on a touring party of 3. All touring party members are Melbourne based. Short Review This is a new show. Reviews not yet available.

Availability 06/02/2017 - 31/12/2019

Duration of show in minutes 80 Not including interval

Does the show have an Yes - 20 minutes interval, and if so, how long?

Performance and Sept 2016 - The Doncaster Playhouse - Preview (1 show) Touring History Feb 2017 - Downstairs at the Maj - Perth Fringe (6 shows)

Number of People in 3 or 4 Touring Party

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/TECHNICAL INFORMATION /NOTES

Technical Rating D (A, B, C, D,) as per NTS Format

Technical Links https://www.dropbox.com/s/c5neln2oiz2jb70/Cilla%20Stage%20Setup%20Full%20Band. jpg?dl=0

Theatre Formats All. Stage Format Preferred

Bump‑in Time 2 Bump‑out Time 1

In‑Brief Lighting Basic Cabaret Lighting Requirements • 3 Specials for Solo Songs • Wash for Group Numbers • Basic Colours • Pianist’s Music lit from above

In-Brief Audio Requirements • Grand Piano • Backline Sound • 2 radio mics • 1 mic stands (round based if possible) • Boom Mic for pianist • Piano mic’d from underneath • 4 fold back wedges on 3 different sends • Reverb on sound desk.

In-Brief Staging Requirements Very basic cabaret/band set up with piano, bass, drums and vocalist Describe your set and construction. • Stools, microphones and stands. How does it sit on stage? Is a fly • Basic Cabaret Lighting system required? Any technical warnings? Do you require an • No flys/orchestra pit required orchestra pit? Piano? Smoke/ • Smoke machine can be used if desirable to venue but not essential” strobe machine etc?

Stage Dimensions MIN. STAGE WIDTH MIN. STAGE DEPTH MIN. STAGE HEIGHT MIN. WING SPACE (metres) (metres) (metres) (metres) 5 0.3

Venue Crew Requirements LIGHTING CREW SOUND CREW STAGE CREW TOTAL VENUE CREW (hours) (hours) (hours) (hours) 4 4 8

Crew Notes Once the show is bumped in and started there are no changes.

Transport Notes As the shows would all be ex-Melbourne, the cast would most likely use their own vehicles. This would require a small travel allowance fee.

Industry Reference David Read | Australian Cabaret Enterprises | 0402 099 222 | [email protected]

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Does the show have an N/A THE WINE BLUFFS interval, and if so, how long? HEY BOSS Performance and • Yarra Valley Grape Grazing Festival 2014 Maddens Lane Winery 3 shows Touring History • Melbourne Fringe 2015 North Melbourne Town Hall 10 shows • Barossa Vintage Festival 2015 Murray Street Vineyard 2 shows • Adelaide Fringe 2016 Royal Croquet Club 11 Shows Presented by Hey Boss • The Big Cohuna Festival 2016 Shilpis Hotel 1 show Presented by Gannawarra Shire Council • Beauvine Festival 2016 Birdwood Square Perth 4 shows Presented by JumpClimb • Fringe World 2017 Noodle Palace 13 shows Presented by Hey Boss

Contact Person Peta Spurling-Brown • Cummins Theatre Merredin 1 show Presented by Cummins Theatre • Bunbury Fringe 2 shows Presented by Bunbury Fringe Email [email protected] • Adelaide Fringe 2017 Royal Croquet Club 13 shows Presented by Hey Boss Contact Phone 0401 437 886 • Stirling Fringe 2017 Stirling 2 shows Presented by Bamboozled Productions • Melbourne Comedy Festival 2017 Malthouse Theatre 11 shows” Organisation Website heyboss.com.au Number of People in State SA 3 Touring Party History and Background Hey Boss present original works in the areas of comedy, theatre and music. Generally working with solo or duo theatre-maker/performers and singer-songwriters. Commencing independent Touring Personnel Paul Calleja | Performer | Yes production in early 2015 following founder, Peta Spurling-Browns experience working in festival Damian Callinan | Performer | Yes and touring environments as a marketer, publicist, company and tour manager. Zillah Morrow | Tour Manager | No Regional touring is a part of many of Hey Bosss artists objectives in order to extend the life of the original works. Some pieces are created with regional audiences in mind for this specific /MARKETING AND COMMUNITY ENGAGEMENT purpose.

Written by Damian Callin and Paul Calleja Key Audience and Show appeals to 25-55 market with an even gender split. Particularly strong appeal to those Marketing Notes involved in or interested in the wine industry, but easily accessible to those with little to no Directed by N/A knowledge as well.Occasional comedy/theatre attendees. The show appeals to comedy fans and wine fans alike. Damian Callinan has extensive regional touring experience and we find we Creative Team Damian Callinan writer, performer have a lot of return fans from previous shows. Paul Calleja writer, performer Marketing Selling Points The show concept is very simple to grasp: its a comedy show, about wine. Weve found this Artform Comedy plays extremely well with audiences all over Australia. Damians profile also helps to sell the Marketing Tagline A comedy wine masterclass with Damian Callinan & Paul Calleja show. Weve had a lot of success with partnering with wineries, using their networks to extend the reach of the show, and offer additional experiences attached to the show (i.e. a pre-show Synopsis Three time Barry Award nominee, Damian Callinan, and his trusty partner-in-wine, Paul Calleja, wine tasting). join forces as the self-styled sommeliers of comedy: The Wine Bluffs. Clips https://youtu.be/aP9hKRa2Y6I If judging the Fruit Wine Section at the Rockhampton Show is not testament to their standing in the Australian wine industry then their Famous Australian Wine Series is (even if the Malcolm Marketing Materials http://thewinebluffs.com.au/ Turnbull Shiraz didnt deliver on its potential). https://www.dropbox.com/sh/h02wi9otwe1x2pl/AABIAs6voVLTr3z_OTpcHVjEa?dl=0 The Wine Bluffs take the audience through an interactive master class identifying the biggest https://www.dropbox.com/sh/rdoh028570s7hye/AABnKczoznhpgzQ7SuLg2nZ6a?dl=0 Wine Wanker along the way [if you have a Winestate subscription and a Vintec fridge set on two temperatures, its probably you]. https://www.facebook.com/thewinebluffs

Callinans ability to read wine auras is revolutionising the wine industry as is Callejas creative gift Promotional Images https://www.dropbox.com/sh/9o732jusckf9fcq/AABev1_-pM1eGgjz5I_85Yf-a?dl=0 for pairing food to wine. Once the audience is deemed ready they then take the audience on a virtual wine bus tour where they can put all they have learnt into practice. Community Engagement Not as such, but we do offer a bus tour version of the show, which is a more premium exclusive Activities offering based on the same concept (premiering Adelaide Fringe 2017). From an audacious experiment at the Yarra Valley Grape Grazing Festival 2014, the show has enjoyed sell outs at Adelaide, Melbourne & Perth Fringes and attracted invites to the Barossa Valley Content Warning Yes - Show is 18+ due to subject matter revolving around alcohol. Strong language and adult themes. Vintage Festival, Beauvine Festival in Perth, and numberous corporate entertainment bookings.

Short Review “These two masters of wine step up to the tasting table and sniff, swirl and spit their way through the pretension and artifice its all great fun & its not necessary to be a wine buff to appreciate it” The West Australian

Availability 20/10/2017 - 30/11/2017

Duration of show in minutes 60 Not including interval

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/BUDGET AND FEES /NOTES

Budget Category Ready to Go - available for one-off performances, no remount required

Remount Cost $

Weekly Fee $

Per-Performance Fee $ 4500

Royalties % 10

Describe your APRA Special Purpose License obligations if applicable

Budget notes $12,000/weekly fee max 5 performances per week

/TECHNICAL INFORMATION

Technical Rating D (A, B, C, D,) as per NTS Format

Technical Links https://www.dropbox.com/s/ji8sp90dw2h2e8u/Wine%20Bluffs%20Technical%20 Requirements%20%282016%29.pdf?dl=0

Theatre Formats Black box, flat floor, hall. Can be adapted to fit many spaces, but easy access to audience is required. Cabaret seating or aisles preferred to allow performer to access the audience for participation sections. Requires flats, or off-stage areas close to stage.

Bump‑in Time 2 Bump‑out Time 1

In‑Brief Lighting Basic washes, house lights up/down, control position usually off-stage. Full blackout preferred. Requirements

In-Brief Audio Requirements Playback via laptop (mini-jack), 2x radio headset mic packs, one wired mic with long lead (10+ m) or handheld radio mic. Company can provide at additional cost.

In-Brief Staging Staging decoration to be provided by the venue: 1x wine barrels and wine boxes (5-6). Requirements Props to be provided by the venue: Describe your set and construction. How does it sit on stage? Is a fly • A small bar table system required? Any technical • A chair warnings? Do you require an orchestra pit? Piano? Smoke/ • 4 good quality wine glasses strobe machine etc? • 1 bottle of corked wine (real cork, not plastic) • 2 bottles of red wine • 1 bottle of Oyster Bay Savignon Blanc

Stage Dimensions MIN. STAGE WIDTH MIN. STAGE DEPTH MIN. STAGE HEIGHT MIN. WING SPACE (metres) (metres) (metres) (metres) 4 2 1.5

Venue Crew Requirements LIGHTING CREW SOUND CREW STAGE CREW TOTAL VENUE CREW (hours) (hours) (hours) (hours) 0

Crew Notes Venue tech familiar with the in-house system to assist with bump in and bump out. Tour manager can operate the sound and lighting for the show, if these are operated from the same position, if not we will require an additional operator for the show.

Transport Notes 1x sedan enough to fit 3 large suitcases and 2 boxes of props Can travel by plane

Industry Reference Craig Harrison | Country Arts SA | 0408 169 991 | [email protected]

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Performance and Adelaide Fringe 2016 34 Garden of Unearthly Delights TINK TANK Touring History Edinburgh Fringe 2016 26 Underbelly Topside BUNK PUPPETS Number of People in 3 Touring Party

/MARKETING AND COMMUNITY ENGAGEMENT Contact Person Jeff Achtem

Email [email protected] Key Audience and Tink Tank is a show for audiences aged six and up and their families. It’s a perfect experience Marketing Notes for family programs, school audiences, school holiday program as well as festivals and Contact Phone 0411 751 384 community events. The show genuinely appeals to adults, who love to share the experience with their families. Because of it’s non-verbal highly energetic performance the show is also Organisation Website bunkpuppets.com highly appealing to non-English speaking audiences.

State VIC Marketing Selling Points With Tink Tank you have the joy of marketing a spectacle to your community. Before the performance audiences are intrigued by the prospect of witnessing the giant inflatable and 3D History and Background With an international reputation, Bunk Puppets are building strong connections with audiences puppetry. After the performance they are enthralled by it. Larger than life characters, a fun and across regional Australia. Recent interstate tours of ‘Sticks Stones Broken Bones’ and ‘Swamp moving story, brilliant images, great press reviews, a long list of awards, word of mouth and Juice’ have introduced thousands of Australians to their trademark style of blending imaginative social media from around the world create a potent combination that drive ticket sales. All this puppetry, with stunning theatrical visuals and witty clowning. The company is committed to as well as a disco break! creating original methods of telling original stories - and often without hardly a word spoken. The company’s productions are designed to be portable, and highly adaptable to wide variety Clips Teaser link: https://vimeo.com/190346280/3faa4040a8 of performance spaces. Full show link: https://vimeo.com/190209420/a5485d4415 Written by Jeff Achtem, Hamish Fletcher and Jules Chapple Marketing Materials https://drive.google.com/drive/folders/0B51vDiNR2JVOX0dzaGhNVE5ydGM?usp=sharing Directed by Jeff Achtem Promotional Images https://drive.google.com/drive/folders/0B51vDiNR2JVOX0dzaGhNVE5ydGM?usp=sharing Creative Team Jeff Achtem, Hamish Fletcher and Jules Chapple, Bindio Green, Kane Forbes Community Engagement The touring company runs shadow puppetry workshops. These can be structured as educator Artform Family Activities workshops that work in schools or with schools audiences, pre or post -show activities, or master classes for local performers. Kids and adults learn how to make shadow puppet Marketing Tagline A new adventure from award-winning visual theatre maestros Bunk Puppets for audiences 6 and creatures and devise characters, using simple techniques and recycled materials. up. Content Warning No Synopsis On a dusty outback farm, the fates of a rooster, a cow, a blowfly and a baby collide. Welcome to Tink Tank, a new adventure from award-winning visual theatre maestros Bunk Puppets. Using bits of rubbish and household junk, Hamish Fletcher and Jules Chapple create a shadow puppet universe on a farm, featuring delightful puppets, eye-popping 3D shadow puppetry and /BUDGET AND FEES introducing a gigantic rolling inflatable creature! Theatrical stunts that will fill any hall or theatre with shrieks of delight. Tink Tank is a visual feast for the imagination!A new all-ages show from Budget Category Tour Ready - production has completed a premiere season and is now seeking presenters to Jeff Achtem, the award-winning creator of Sticks Stones Broken Bones, Swamp Juice and build a tour and source tour funding, if required. Slapdash Galaxy. Remount Cost $ 14875 We minimise technical barriers to bring world class theatrical craftsmanship to a broad range of locations and audiences. Through our regional Australian touring, we foster relationships with Weekly Fee $ 9920 regional audiences and help build interest in the performing arts program of the communities Per-Performance Fee $ we visit. We have experienced the lovely recognition of families and children who recall with pleasure having seen a Bunk Puppets show in the past, and now ready for this year’s show and Royalties % equally fired up for shows in the future. Describe your APRA Short Review “The imagination and technical skill to create such a beautiful and immersive experience show obligations if applicable that Bunk Puppets are masters of their craft” Radio Adelaide Budget notes Availability 01/09/2017 - 31/12/2018

Duration of show in minutes 55 Not including interval

Does the show have an N/A interval, and if so, how long?

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/TECHNICAL INFORMATION /NOTES

Technical Rating C (A, B, C, D,) as per NTS Format

Technical Links https://drive.google.com/drive/folders/0B51vDiNR2JVOX0dzaGhNVE5ydGM?usp=sharing

Theatre Formats The performance is designed for an end-on stage, such as a proscenium arch or a black box studio theatre. A thrust theatre, in-the-corner, or in-the-round staging will not be suitable.

Bump‑in Time 6 Bump‑out Time 2

In‑Brief Lighting In most venues, the standard lighting equipment of the theatre is usually sufficient to create Requirements the lighting requirements of the show. The technical specifIcations attached to this profile include a generic lighting plan with focus notes. This plan is not to scale and should be used as a reference guide when looking at how to use the fixtures available in the venues standard rig.

In-Brief Audio Requirements QLAB Show file provided on touring company. Venue to provide mini jack connection from iPad to a stereo input appropriate for the venues sound desk. We require reverb effect and 2 x monitors. Two headset radio mics are supplied by the company.

In-Brief Staging Front Screen White cloth screen hung from a rope line suspended above stage at a height of Requirements 4m. Rope and pulleys are supplied by the company and rigged from the downstage corners Describe your set and construction. of the grid. (See diagram attached). Rope is tied off at ground level and will be released by How does it sit on stage? Is a fly performer during the show to allow the Screen to drop. 3D Screen Projection screen curtain on system required? Any technical tripod, 3m wide x 2.4m high. Position 1 is upstage centre, then moved by performers during the warnings? Do you require an show to position 2, centre stage. LARGE SCREEN OPTION For venues with a capacity over 400 orchestra pit? Piano? Smoke/ people, TINK TANK can be performed with a larger screen. Minimum venue requirements for strobe machine etc? the large screen option are. Stage area 10m wide x 6.5m deep Wing area 1m both sides of stage Grid height 5.5m minimum. INFLATABLE Large inflatable animated set element, manipulated by performers, see images/video. It is essential that we are able to achieve a good blackout in both the auditorium and on stage.

Stage Dimensions MIN. STAGE WIDTH MIN. STAGE DEPTH MIN. STAGE HEIGHT MIN. WING SPACE (metres) (metres) (metres) (metres) 9 6 5 1

Venue Crew Requirements LIGHTING CREW SOUND CREW STAGE CREW TOTAL VENUE CREW (hours) (hours) (hours) (hours) 5 2 3 10

Crew Notes Mixed ability crew is acceptable so the show can be supported by with 2 crew members who between them know LX, AX and staging/rigging.

Transport Notes Eight seat or similar vehicle to fit three touring personnel as well as eight cases.

Industry Reference Jenny Simpson | CEO Awesome Arts Perth | 09 9328 9666

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Performance and In development THE OWL & Touring History

Contact Phone 0418 783 082 /MARKETING AND COMMUNITY ENGAGEMENT Organisation Website littleblackdresscreatives.com Key Audience and This musically-driven work is created for and will appeal to children 4-10 years, alongside their State VIC Marketing Notes families, carers and teachers. Its a rarely-adapted page-to-stage work and is based on a well- known and nostalgic piece of literature common to all our childhoods, often shared across History and Background Little Black Dress Creatives (LBDC) is a Melbourne/Brisbane-based independent company generations. The work will be specifically created for this age group with age-appropriate that produces musical and theatre works, with the two-fold focus on utilising classical vocal content, specific and well-researched axioms of current childhood learning and appropriate technique, and creating roles, collaborations and opportunities for female artists and arts theatrical devices. Its a great entry point for young children first-time theatre-goers - it has professionals. LBDC is committed to touring their body of work throughout Australia. At the artistic integrity and accessibility. core of creating productions of artistic excellence and integrity, are the fundamental goals that the content of our work is accessible for a wide range of audiences, highly entertaining and Marketing Selling Points It’s based on a well-known nostalgic poem easily-tourable. The set is the venue - The audience gets to sit inside the giant pea green boat! Its intimate - Capacity is 124 people Written by Kathryn Marquet Its interactive - Its experiential and uses strong tactile/aural stimulation. Its acoustic - It’s performed without amplification Directed by Bridget Boyle Its integrated - The pre-performance workshop has activities allowing participation in the show Creative Team Creative Producer: Alicia Cush, Designer/Producer: Penny Challen, Director: Bridget Boyle, Its educational - The work features early childhood music methodology Writer/Librettist: Kathryn Marquet, Composer: Lisa Cheney, Dramaturg: Jane Bodie, Puppet Its art music made accessible - It’s opera reinvented for young eyes & ears Advisors: Dead Puppet Society, Early Childhood Music Consultant: Annie Peterson, Creative The themes of love, harmony and acceptance are universal Consultant: Thom Browning Clips https://www.youtube.com/watch?v=b3xe3Y8kjn0 Artform Childrens Marketing Materials http://www.littleblackdresscreatives.com/owlandpussycat Marketing Tagline An enchanting and intimate musical experience of harmony and acceptance Promotional Images https://drive.google.com/open?id=0B0gI0p-N4mI_VmhjRC1kbGlNWjg Synopsis The Owl and the Pussycat is a enchanting and intimate theatrical experience, based on Edward Community Engagement The Producer is enthusiastic to engage in discussion with each potential Presenter to find Lears beloved childhood poem. This charming childrens work melds live performance, puppetry, Activities ways to meaningfully engage with distinct audiences and find layered connections with operatic vocals, acoustic music and experiential theatre inside a giant green boat and immersive each community. There is a desire to tailor-make activities and opportunities to maximise landscape. Created specifically for children 4-10 years, this interactive journey inspires, educates relationships outside of traditional spheres. and enthralls by inviting children to participate in multi-sensory ways to help our loveable couple reach their destination. An educators resource will be created for early childhood and music educators. Designed for black box spaces, children are invited aboard a giant green pea boat for a There will also be foyer and library-specific installations/activities linked to the creative 40-minute performance (following a 30-minute workshop). An intimate setting is created with workshops for venues and local/school libraries. Ex. Display of handmade boats tiered seating in the boats stern and bow and a capacity of 124 people. Audience members will be integrated into the action with interactive theatrical devices, designed to spark imaginative Content Warning No thought with strong tactile and aural stimulation. This national collaboration of female artists and arts professionals will create a landmark acoustic musical work for children that encourages imaginative thought, uses tactile learning, and explores the universal themes of love, harmony & acceptance.

Short Review “They twisted the traditional opera sound into something a little experimental, a bit different, and a lot entertaining.” Aussie Theatre (Aria Moderna)

Availability 03/12/2018 - 12/12/2019

Duration of show in minutes 70 Not including interval

Does the show have an N/A interval, and if so, how long?

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/BUDGET AND FEES /NOTES

Budget Category In Development - work which will be produced and premiered in time for touring during 2018/19

Remount Cost $ 9750

Weekly Fee $ 12500

Per-Performance Fee $

Royalties % 10

Describe your APRA obligations if applicable

Budget notes

/TECHNICAL INFORMATION

Technical Rating C (A, B, C, D,) as per NTS Format

Technical Links To be created

Theatre Formats Flexible - Black Box, Hall, Proscenium stage, Flat floor

Bump‑in Time 8 Bump‑out Time 4

In‑Brief Lighting To be confirmed Requirements

In-Brief Audio Requirements Acoustic work

In-Brief Staging Requirements The set is the performance and audience space - the audience sit in the stern and bow of the boat set Describe your set and construction. How does it sit on stage? Is a fly Black-box venues with removable seating banks / no seating banks are ideal that are light system required? Any technical insulated warnings? Do you require an orchestra pit? Piano? Smoke/ Venue 18m x 9m min preferred strobe machine etc?

Stage Dimensions MIN. STAGE WIDTH MIN. STAGE DEPTH MIN. STAGE HEIGHT MIN. WING SPACE (metres) (metres) (metres) (metres) 18 9 5

Venue Crew Requirements LIGHTING CREW SOUND CREW STAGE CREW TOTAL VENUE CREW (hours) (hours) (hours) (hours) 3 12 15

Crew Notes Stage crew are only required for the bump-in and bump-out of set and not for the performance

Transport Notes To be confirmed. Set will not be transportable by plane

Industry Reference Luke Harriman | arTour | 0405 400 997 | [email protected]

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Performance and Northern Rivers Performing Arts Centre - 2015 - 1 -NORPA BETHAN ELLSMORE IS Touring History Brisbane Powerhouse - 2015 - 1 - Queensland Cabaret Festival/Brisbane Powerhouse QUEEN OF THE NIGHT Australian Modern - 2017 - 1 - Anywhere Theatre Festival LITTLE BLACK DRESS CREATIVES Studio 188 - 2017 - 1 - Ipswich Civic Centre Number of People in 3 Touring Party

Email [email protected] /MARKETING AND COMMUNITY ENGAGEMENT Contact Phone 0435 030 074 Key Audience and The audience for cabaret has continued to grow over the past decade. This show attracts Organisation Website littleblackdresscreatives.com Marketing Notes cabaret fans looking to discover a new personality, and who appreciate the artform and its State VIC eclecticism. This cabaret appeals to couples and women over 30 looking for an inexpensive, but high-quality musical and theatrical experience. History and Background Little Black Dress Creatives (LBDC) is a Melbourne/Brisbane-based independent company that produces musical and theatre works, with the two-fold focus on utilising classical vocal Marketing Selling Points Bethan Ellsmore is a one of a kind performer growing her reputation as a truly versatile vocalist technique, and creating roles, collaborations and opportunities for female artists and arts and performer. This show offers a genuinely entertaining evening of cabaret that allows the professionals. LBDC is committed to touring their body of work throughout Australia. At the audience to experience diverse genres of opera, pop, music theatre and classic cabaret. The sell core of creating productions of artistic excellence and integrity, are the fundamental goals that is in the marketing of Ellsmore as a cabaret personality; cheeky, irreverent and audacious, she the content of our work is accessible for a wide range of audiences, highly entertaining and follows in the footsteps of comedic but substantial cabaret performers like Meow Meow and easily-tourable. Camille OSullivan.

Written by Bethan Ellsmore Clips https://www.youtube.com/watch?v=yldEOPfEgCk

Directed by Alison St Ledger Marketing Materials https://www.dropbox.com/sh/t813k4p25zz9h6h/AACY5Jn_HW9whL5xYaClVzP2a?dl=0

Creative Team Bethan Ellsmore (Writer, Arranger, Performer), Alison St Ledger (Director) Dominic Woodhead Promotional Images https://www.dropbox.com/sh/54gwupzwnxyyyd8/AADexiQrduztbmJcaj63vcJ1a?dl=0 (Pianist), Penelope Challen (Designer) Community Engagement Ellsmore offers three different community engagement workshops, directed at members of Artform Cabaret Activities her target audience/demographic (choral singers, musical societies, young singers). Life Is A Cabaret, designed to help singers discover their on-stage cabaret persona and interpret Marketing Tagline Cabaret Queen Bethan Ellsmore summons you to a night of musical revelry repertoire in a fresh way, The Art of Auditioning, to demystify and practice this daunting process, and Hitting The High Notes, an introduction to basic singing technique.These activities Synopsis Known as the devilish femme-fatale of cabaret trio Babushka, Bethan Ellsmore has cut her build a stronger relationship between artist and audience and encourage the audience to teeth in the worlds of opera, rocknroll and theatre. A musical gypsy with a heart-breaking become more invested with the artists and work. vulnerability balanced with a savagely seductive edge, this vocalist brings a fiery freshness to the cabaret stage. Hers is an elastic voice that travels from the lightest of touches to a Content Warning Yes - Adult Content including some drug and sexual references. triumphant roar. Peppered with her irreverent wit and genuine connection with the audience, her interpretations of diverse tunes such as Portisheads Glorybox, Kurt Weills Surabaya Johnny, and Rusulkas Song to the Moon sound like new songs through her meticulous arrangements /BUDGET AND FEES and loving delivery. As Queen of the Night, she is a curious urban fantasist insisting you can sing Mozart, The Budget Category Tour Ready - production has completed a premiere season and is now seeking presenters to Strokes and Sia in the same soiree. This sultry and slightly silly cabaret takes you from an build a tour and source tour funding, if required. operatic dream to the murky reality of a bar, weaving stories of aching hearts and heartfelt Remount Cost $ 0 abandon. Bethan wanders the heady streets of her party-girl existence, dodging dangers and finding joyous moments of revelry, shared with the audience through arresting arrangements of Weekly Fee $ 4700 arias, music theatre, pop songs and her original music. Per-Performance Fee $ Short Review “Ellsmores voice is a remarkable instrument and she plays it flawlessly” Blue Curtains Royalties % 4 Availability 01/03/2018 - 31/08/2018 Describe your APRA Duration of show in minutes 60 obligations if applicable Not including interval Budget notes Does the show have an N/A interval, and if so, how long?

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/TECHNICAL INFORMATION /NOTES

Technical Rating D (A, B, C, D,) as per NTS Format

Technical Links

Theatre Formats Flexible - Cabaret spaces, Black Box, Hall, Proscenium Arch

Bump‑in Time 2 Bump‑out Time 1

In‑Brief Lighting Requirements

In-Brief Audio Requirements • 1 x handheld wireless microphones • 1 x boom microphone stands • 1 x P.A. with mixing desk • 2 x foldback monitors • 3 x channels and 1 x foldback sends • 2 x DI box

In-Brief Staging Requirements Describe your set and construction. A piano is desirable, but the company can tour with an electric keyboard. 1 x piano stool. The How does it sit on stage? Is a fly set is constructed by the cast and set on stage without and other requirements. No fly system is system required? Any technical necessary. warnings? Do you require an orchestra pit? Piano? Smoke/ strobe machine etc?

Stage Dimensions MIN. STAGE WIDTH MIN. STAGE DEPTH MIN. STAGE HEIGHT MIN. WING SPACE (metres) (metres) (metres) (metres) 4 3 3

Venue Crew Requirements LIGHTING CREW SOUND CREW STAGE CREW TOTAL VENUE CREW (hours) (hours) (hours) (hours) 4 4

Crew Notes

Transport Notes 1 x sedan. Set/costuming can travel by plane

Industry Reference Luke Harriman | ArTour | 0405 400 997 | [email protected]

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Short Review ...lambasted the audience with raunchy wit, sly humour, sexy asides, and fabulous vocals - DOLL BY BABUSHKA Absolute Theatre LITTLE BLACK DRESS CREATIVES Availability 30/06/2018 - 08/10/2018 Duration of show in minutes 60 Not including interval

Does the show have an N/A interval, and if so, how long?

Performance and The Arts Centre Gold Coast - 2017 - 1 - The Arts Centre Gold Coast Touring History Contact Person Bethan Ellsmore Brisbane Powerhouse - 2016 - 4 - Wonderland Festival/Brisbane Powerhouse

Email [email protected] Empire Theatre, Toowoomba - 2016 - 1 - Empire Theatre

Contact Phone 0435 030 074 Ipswich Civic Centre - 2016 - 1 - Ipswich Civic Centre Organisation Website littleblackdresscreatives.com Redland Performing Arts Centre - 2016 - 1 - RPAC State VIC Riverway Arts Centre, Townsville - 2016 - 1 - Townsville City Council History and Background Little Black Dress Creatives (LBDC) is a Melbourne/Brisbane-based independent company that produces musical and theatre works, with the two-fold focus on utilising classical vocal Diggers Entertainment Centre, Hughenden - 2016 - 1 - Flinders Shire Council technique, and creating roles, collaborations and opportunities for female artists and arts professionals. LBDC is committed to touring their body of work throughout Australia. At the Judith Wright Centre of Contemporary Arts - 2015 - 4 - JWCOCA core of creating productions of artistic excellence and integrity, are the fundamental goals that the content of our work is accessible for a wide range of audiences, highly entertaining and Number of People in 5 easily-tourable. Touring Party

Written by Babushka (Alicia Cush, Bethan Ellsmore & Judy Hainsworth) Touring Personnel Alicia Cush | Performer / Tour Manager | Yes

Directed by Caroline Dunphy Bethan Ellsmore | Performer / Marketing Manager | Yes

Creative Team Creative/Co-Musical Director: Alicia Cush, Designer: Penelope Challen, Lighting Designer: Judy Hainsworth | Performer | Yes Andrew Meadows, Performers: Alicia Cush, Bethan Ellsmore & Judy Hainsworth, Co-Musical Luke Volker | Musician | Yes Director/Accompanist: Luke Volker Chris Neehause | Sound Technician Artform Cabaret

Marketing Tagline Enter into Babushkas musical Dreamhouse for a grown-up cabaret playdate... /MARKETING AND COMMUNITY ENGAGEMENT Synopsis Doll by Babushka is a cabaret interspersing comedy, story-telling and vignettes through cleverly arranged musical choices, ranging from opera and music theatre to 80s hair metal and Key Audience and This musically-driven comedic cabaret explores concepts, ideas and themes relating to pop. Doll explores themes around contemporary womanhood through the world of toys. The Marketing Notes dolls and our relationship with them. This creates strong appeal to a female audience, easily three distinct personalities of Babushka work together to create a tight ensemble production, marketed as an ideal ‘ladies’ night out’. However, it is interesting to note that men made up 30% performing three-part vocal arrangements of unexpected repertoire. of the audience in Doll’s premiere season and provided enthusiastic post-show feedback. A large percentage of Babushka’s audience is female aged 25 -55 years. What did Ken and Barbie do when you werent looking? Marketing Selling Points While the initial attraction of Doll is comedy and a strong theme, the lasting impression Babushka present a crazed and cutesy cabaret all about our first childhood BFF, the doll. Babushka audiences leave with is the originality and quality of the musical arrangements/vocal Ramping up their range of talents, the Babushka gals nurse dolls, break dolls and become dolls harmonies. This appeal is what builds Babushka’s fan base and lures return audiences. in their outrageous arrangements of everything from Queen and Guns ‘n’ Roses to Regurgitator and Offenbach. The individual personalities of the Babushka trio can be uniquely sold with individual messaging and themes such as ‘The Party Girl’, ‘The Over-Worked Mum’ and ‘The Lonely Girl’, with Prepare to be seduced, tickled and burped through a hilarious musical experience and take a something relatable in all of them. The hook is the concept of what our dolls might get up to stroll down the silly side of memory lane to see the world through your Dollys eyes. when we aren’t looking!

We all yearned to be Barbie, cuddled our Cabbage Patch baby and stuck pins in Voodoo Clips https://www.youtube.com/watch?v=rVFXsi_8swM dolls (but not in blow-up dolls). Babushka beckons you into the Barbie Dreamhouse for a very grown-up play-date... https://www.youtube.com/watch?v=2djFW9HMSS8 Marketing Materials https://www.dropbox.com/sh/nb7mqc2wkftmvzw/AAA_8KiAHFlqYKkdko1hARHJa?dl=0 Batteries sold separately. Promotional Images https://www.dropbox.com/sh/5rmbkbp20z00nrz/AACNgLL-6pqU-cNrADT8ZBq3a?dl=0

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Community Engagement Babushka offers three different community engagement workshops, directed at members of Stage Dimensions MIN. STAGE WIDTH MIN. STAGE DEPTH MIN. STAGE HEIGHT MIN. WING SPACE Activities our target audience/demographic (choral singers, musical societies, young singers). Life Is (metres) (metres) (metres) (metres) A Cabaret, designed to help singers discover their on-stage cabaret persona and interpret 6 3 4 0 repertoire in a fresh way, The Art of Auditioning, to demystify and practice this daunting process, and Hitting The High Notes, an introduction to basic singing technique.These activities Venue Crew Requirements LIGHTING CREW SOUND CREW STAGE CREW TOTAL VENUE CREW build a stronger relationship between artist and audience and encourage the audience to (hours) (hours) (hours) (hours) become more invested with the artists and work. 6 0 0 6 Content Warning Yes. Adult Content including sexual and drug references. Crew Notes

Transport Notes 1 x 1 tonne van & 1 x 5-seater sedan vehicle. /BUDGET AND FEES The set can travel by plane. Budget Category Tour Ready - production has completed a premiere season and is now seeking presenters to build a tour and source tour funding, if required. Industry Reference Luke Harriman | ArTour | 0405 400 997 | [email protected]

Remount Cost $ 0

Weekly Fee $ 8250 /NOTES

Per-Performance Fee $

Royalties % 6

Describe your APRA obligations if applicable

Budget notes

/TECHNICAL INFORMATION

Technical Rating D (A, B, C, D,) as per NTS Format

Technical Links

Theatre Formats Flexible - Cabaret spaces, Black Box, Hall, Proscenium Arch

Bump‑in Time 4 Bump‑out Time 2

In‑Brief Lighting Requirements

In-Brief Audio Requirements 3 x handheld wireless microphones

3 x boom microphone stands

1 x P.A. with mixing desk

4 x foldback monitors

7 x channels and 2 x foldback sends

2 x instrument microphones

1 x DI box (2 if no piano is available in venue)

In-Brief Staging Requirements Describe your set and construction. A piano is desirable, but the company can tour with an electric keyboard. 1 x piano stool. The How does it sit on stage? Is a fly set is constructed by the cast and set on stage without other requirements. No fly system is system required? Any technical necessary. warnings? Do you require an orchestra pit? Piano? Smoke/ strobe machine etc?

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Number of People in Varies 1 to 5 MUSIC FOR VICTORIA Touring Party MELBOURNE RECITAL CENTRE Touring Personnel Selected artist|the artist typically tours themselves to the venue

/MARKETING AND COMMUNITY ENGAGEMENT

Key Audience and These concerts are far-reaching with broad appeal and have been highly successful at making Marketing Notes classical music more accessible, due to carefully selected artists and programs and that concerts are promoted through local networks. Programs can be scheduled at dates and times that suit community members, (eg. Saturday evening or Sunday afternoon) to best suit Contact Person Sarah Wade audience needs. Past concerts have been popular with all ages, students of music, music lovers and those who didnt even know they would enjoy it so much! Email [email protected] Marketing Selling Points Melbourne Recital Centre is a trustworthy live music performance curator. Through partnership Contact Phone 02 9207 2631 with venues, audiences trust in Melbourne Recital Centres brand and expertise, especially Organisation Website melbournerecital.com.au as they receive a series of live music performances curated especially for them. Marketing is a collaborative effort between the Centre and the regional venue. Regional venues receive State VIC professional collateral incl. artist biographies, concert descriptions, repertoire and images and they generate local publications and promotions. The artists also support the marketing History and Background Melbourne Recital Centre is at the heart of an inspired global community of musicians and campaign through their existing networks. audiences. The Centre represents and promotes the interests of music patrons, users and the music community of Victoria including the identification of relevant infrastructure needs and the Clips Melbourne Recital Centre’s 2017 Jan-March ‘What’s On’ video: appropriate future planning. It presents opportunities for nurturing emerging Australian creative https://www.youtube.com/watch?v=YAyvHmARisY and performing artists. Its forward programming strategy is designed to attract audiences who

reflect the broad geographic, economic, social and cultural diversity of Victoria. Melbourne Guitar Quartet, who have been popular with regional venues: Written by Melbourne Recital Centre https://www.youtube.com/watch?v=72iWAiysVas”

Directed by Melbourne Recital Centre Marketing Materials https://www.dropbox.com/sh/0d8setesiy1jwgp/AAArwVCZVEbOPknuXC-iQ6WLa?dl=0

Creative Team A selection of high-level musicians, curated by Melbourne Recital Centre Promotional Images https://www.dropbox.com/sh/0d8setesiy1jwgp/AAArwVCZVEbOPknuXC-iQ6WLa?dl=0

Artform Live Music Community Engagement Popular community engagement activities have included pre-concert talks, post-concert meet- Marketing Tagline Bringing the music of Melbourne Recital Centre to your local venue Activities the-artists and workshops for community members.

Synopsis Since 2015 Melbourne Recital Centre, ‘the best place to hear’, has been opening its doors and Content Warning No bringing the best local and international artists to regional venues. With funding support from RACV and Creative Victoria, Melbourne Recital Centre can curate and deliver high-quality and high-value musical performances designed for your audiences. /BUDGET AND FEES As Melbourne Recital Centre’s core business is presenting concerts and events to a world-class Budget Category Ready to Go - available for one-off performances, no remount required standard, strong programming underpins the success of our brand and audience trust. The Centre programs over 300 shows per year and maintains connections with a vast database of Remount Cost $ professional Australian and international artists across a variety of musical styles. The Centre is committed to providing further performance opportunities for our local ensembles and touring Weekly Fee $ guest artists. As musical styles range from solo classical piano through to gypsy and jazz ensembles, there’s a great variety of artists on offer, ready to come and perform for audiences Per-Performance Fee $ 2000 in regional venues throughout the year. Royalties %

Short Review “The Sisters were terrific, really great. The audience were so thrilled with them, they were all Describe your APRA Venues are obliged to pay APRA fees when requried loved. It was a broader audience than I have ever seen farmers and blokes who would never obligations if applicable come but their wives told them to or a friend asked them to come. Even the blokes who were dragged along loved it. It was a great success.” Gannawarra Shire Council after the Stiletto Budget notes Melbourne Recital Centre has funding support from RACV and Creative Victoria, allowing us to Sisters concert deliver these concerts to you at little to no cost to the presenter for first-time presenters.

Availability 01/07/2017 - 31/12/2018

Duration of show in minutes /TECHNICAL INFORMATION 60 - 120 Not including interval Technical Rating Does the show have an D Yes. Determined in liaison with the presenter. (A, B, C, D,) as per NTS Format interval, and if so, how long?

Performance and Melbourne Recital Centre has curated and presented more than 30 regional concerts since 2015, Touring History including international and local artists and ensembles in venues like Mildura PAC, Castlemaine Town Hall, Wangaratta PAC, Upper Yarra Arts Centre and Latrobe PAC.

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/NOTES Technical Links n/a

Theatre Formats Flexible

Bump‑in Time 1 Bump‑out Time 0.5

In‑Brief Lighting No specifications. Requirements

In-Brief Audio Requirements No specifications. Artists may prefer to be amplified depending on venue and environment.

In-Brief Staging Requirements Describe your set and construction. How does it sit on stage? Is a fly A piano (recently tuned) may be required, depending on artists. system required? Any technical warnings? Do you require an orchestra pit? Piano? Smoke/ strobe machine etc?

Stage Dimensions MIN. STAGE WIDTH MIN. STAGE DEPTH MIN. STAGE HEIGHT MIN. WING SPACE (metres) (metres) (metres) (metres) 4 3 3 0

Venue Crew Requirements LIGHTING CREW SOUND CREW STAGE CREW TOTAL VENUE CREW (hours) (hours) (hours) (hours) 0 0 0 0

Crew Notes None

Transport Notes Melbourne Recital Centre organises all travel arrangements.

Industry Reference Malcolm Russell | Yarra Ranges Council | 0428 480 816 | [email protected]

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Performance and PREVIOUSLY PERFORMED THE CHRISTMAS BELLE Touring History Benalla Performing Arts Centre, 2016 1 show GINA HOGAN CONTRACTED TO BE PERFORMED

Forge Theatre and Arts Hub, Bairnsdale 2017 (1 show)

Swan Hill Performing Arts Centre 2017 (1 show)

Shepparton Performing Arts Centre 2017 (1 show)

Contact Person Gina Hogan Adelaide Tour - 8 venues (8 shows)

Email [email protected] Her Majesty’s Theatre, Ballarat 2018 (1 show)

Contact Phone 0412 165 250 Hamilton Performing Arts Centre 2018 (1 show) Organisation Website ginahogan.com Portland Civic Hall 2018 (1 show) State VIC Casterton Town Hall 2018 (1 show) History and Background I have been performing my own, self-devised shows since 2011, entertaining patrons at over 60 venues throughout Australia with many repeat performances, clocking up over 130 shows. Number of People in 2 I’ve always been passionate about writing and performing, and so enjoy providing shows Touring Party that incorporate not just singing, but dancing, laughter, playing guitar, and most importantly, creating a connection with my audience. Touring Personnel Gina Hogan | Performer / Producer | Yes

Written by Gina Hogan Greg Riddell | Pianist | Yes

Directed by Gina Hogan /MARKETING AND COMMUNITY ENGAGEMENT Creative Team Gina Hogan, Greg Riddell (pianist)

Artform Cabaret Key Audience and This is a show that can be enjoyed by people of all ages, from children right through to Marketing Notes the more senior among us; a show where people are encouraged to sing along, with words Marketing Tagline Some of the most loved and well known carols, along with a few of my favourite Christmas projected on the scrim along with beautiful Christmas images to tie it all together. songs. Anyone who loves Christmas will love this show. Synopsis I’m so excited to be performing my very own Christmas show, something that’s been on my ‘to

do’ list for many years. I usually perform at daytime music events and I’d like to think the audiences who have seen any In this show I sing some of the most loved and well known carols, along with a few of my of my previous shows would return to the theatre for this one. personal favourite Christmas songs that are sure to be show stoppers. There are beautiful costumes, singing, dancing, lots of laughs and also some guitar in this show - something for Marketing Selling Points * It’s the perfect show to get people into the Christmas spirit. everyone! * There’s dancing, singing, guitar playing and lots of laughs. Short Review “Gina has been a regular performer at Glenelg Shire venues for over 5 years now. Her polished performances are full of colourful costumes and music that our patrons love to hear.” Susie * Plenty of opportunities for the audience to sing along, with words and Christmas images Lyons, Arts and Cultural Manager, Portland Arts Centre. projected on the scrim.

Availability 15/12/2016 - 15/12/2019 Clips https://www.youtube.com/watch?v=lcTwynkbu48 (The Women of the 60’s)

Duration of show in minutes 70-75 https://www.youtube.com/watch?v=nVj-GRLz7t0 (The Gina Hogan Band - Corporate Event) Not including interval Marketing Materials https://www.dropbox.com/sh/ppsy49whvvnympu/AACbOoE5w6RzV7PUaAVOj3KJa?dl=0 Does the show have an No Promotional Images https://www.dropbox.com/sh/ppsy49whvvnympu/AACbOoE5w6RzV7PUaAVOj3KJa?dl=0 interval, and if so, how long? Community Engagement I can offer singing/vocal workshops for up and coming performers as I am a singing teacher. Activities

Content Warning No

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/BUDGET AND FEES In-Brief Staging Requirements Budget Category Ready to Go - available for one-off performances, no remount required Describe your set and construction. Grand piano will be required but keyboard can be supplied if needed. Props will be supplied Remount Cost $ How does it sit on stage? Is a fly system required? Any technical although if a Christmas tree could be provided that would be wonderful. Weekly Fee $ warnings? Do you require an orchestra pit? Piano? Smoke/ strobe machine etc? Per-Performance Fee $ 3200 Stage Dimensions MIN. STAGE WIDTH MIN. STAGE DEPTH MIN. STAGE HEIGHT MIN. WING SPACE Royalties % (metres) (metres) (metres) (metres) Describe your APRA 4 3 0 0 obligations if applicable Venue Crew Requirements LIGHTING CREW SOUND CREW STAGE CREW TOTAL VENUE CREW Budget notes (hours) (hours) (hours) (hours) 4 4 0 8

/TECHNICAL INFORMATION Crew Notes

Technical Rating Transport Notes N/A D (A, B, C, D,) as per NTS Format Industry Reference Mark Fawcett | Cardinia Cultural Centre | 1300 887 624 | [email protected] Technical Links https://www.dropbox.com/sh/ppsy49whvvnympu/AACbOoE5w6RzV7PUaAVOj3KJa?dl=0

Theatre Formats All of the above would work /NOTES Bump‑in Time 2 Bump‑out Time 2

In‑Brief Lighting Please provide adequate stage lighting for the room size and in context with the show. I Requirements suggest plenty of colourful washes and straw colour light across front of downstage area.

In-Brief Audio Requirements 1 X 16 Channel Mixing Console 1 X Stereo System Drive (needs to be at F.O.H.) 1 X F.O.H. EQ 1 X Multi Effects Unit 2 X Channels of Insertable Compressor Limiters MONITOR 2 Sends/Monitor Mixes required 2 X High Quality Floor Monitors 2 X Channels of 31 Band EQs Gina will provide her own Sennheiser ew300 G3 series, wireless in-ear monitors which will need an additional Auxiliary Send with its own EQ. INPUT LIST CH. INSTRUMENT 1 * GRAND PIANO (as required by venue) 2 ** LAPTOP L (DI and video input cable required) 3 ** LAPTOP R (DI required) 4 *** iPAD L (DI required - this is backup for laptop. iPad will be provided.) 5 *** iPAD R (DI required) 6 GUITAR (DI will be provided) 7 VOCAL GINA (** microphone will be provided) 8 VOCAL PIANO (wireless microphone required) 9 REVERB PLEASE NOTE: * If Grand Piano is not available, 2 channels will be required for Keyboard Left and Right, along with 2 DIs.

** Gina will supply laptop, laptop audio lead and Sennheiser ew500 G3 wireless microphone system and Sennheiser e965 microphone.

*** iPad will be used as a backup when laptop is used, to run PowerPoint presentation. It will run the tracks if projection is not available at venue.

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GINA HOGAN - A Touring Personnel Gina Hogan | Performer / Producer | Yes COUNTRY GIRL AT Greg Riddell | Pianist | Yes HEART /MARKETING AND COMMUNITY ENGAGEMENT

GINA HOGAN Key Audience and The songs are from the 60’s and 70’s so will appeal to a wide audience, from 40 - 80 year olds. Marketing Notes As it is a country show, and there are many regional venues around Australia, I think it will be very well received, especially given that I am a country girl and already have a relationship with many patrons, as I’ve been performing my shows for over 5 years now. Contact Person Gina Hogan I don’t think it’s limited to country venues as many people, including city dwellers, grew up listening to artists such as Dolly Parton, Patsy Cline and Olivia Newton-John. Email [email protected] Contact Phone 0412 165 250 This is a show that could work as a daytime or evening show.

Organisation Website ginahogan.com Marketing Selling Points * The songs that I am singing are by well known country artists that everyone, country and city folk alike, will have heard growing up. They’ll enjoy the trip down memory lane. State VIC * I’ve included songs from our very own Olivia Newton-John. History and Background I have been performing my own, self-devised shows since 2011, entertaining patrons at over 60 venues throughout Australia with many repeat performances, clocking up over 130 shows. * I have singers from the 60’s for the older members of the audience (70 to 90 year olds), and I’ve always been passionate about writing and performing, and so enjoy providing shows that from the 70’s for the younger ones (40 to 70 year olds). incorporate not just singing, but dancing, laughter, playing instruments, and most importantly, creating a connection with my audience. Clips https://www.youtube.com/watch?v=lcTwynkbu48 (The Women of the 60’s)

I’m originally a country girl, and really enjoy travelling and performing for the regional https://www.youtube.com/watch?v=nVj-GRLz7t0 (The Gina Hogan Band - Corporate Event) audiences. I feel I can relate to them and am right at home in their company. Marketing Materials https://www.dropbox.com/sh/2vniuhi6x40k5pl/AACnzutXsQFkVBgDw5kxlLf9a?dl=0 Written by Gina Hogan Promotional Images https://www.dropbox.com/sh/2vniuhi6x40k5pl/AACnzutXsQFkVBgDw5kxlLf9a?dl=0 Directed by Gina Hogan Community Engagement I can offer singing masterclasses to up and coming performers as I am also a singing teacher. Creative Team Gina Hogan, Greg Riddell (pianist) Activities

Artform Cabaret Content Warning No

Marketing Tagline I will be performing hits of the country greats of the 60s and 70s eg. Dolly Parton, Patsy Cline

Synopsis In this show I will be performing the much loved hits of the country greats: Dolly Parton, Patsy /BUDGET AND FEES Cline, Linda Ronstadt, Olivia Newton John, Tammy Wynette and many more. Budget Category Ready to Go - available for one-off performances, no remount required The show will be a nostalgic, fun filled trip down memory lane, and I will be sharing the stage with Mr Greg Riddell on piano, accompanied by some fabulous backing tracks. I have some Remount Cost $ fabulous costumes and will be playing guitar as well. Weekly Fee $

This show is very special to me as I am a country girl, born and bred, and will be returning to Per-Performance Fee $ 3200 my roots to perform songs I used to sing as a young girl around the campfire, guitar in hand, entertaining family and friends. Royalties %

Short Review “An immensely talented and versatile singer with an obvious passion for performing.” Darren Describe your APRA McCubbin, GIPPSLAND REGIONAL ARTS, SALE obligations if applicable

Availability 01/06/2017 - 15/12/2019 Budget notes Plus GST

Duration of show in minutes 70 - 75 Not including interval

Does the show have an No interval, and if so, how long?

Performance and This is a new show so there haven’t been any performances as yet. There have been over 130 Touring History performances of my previous shows: ‘The Women of the 60’s’, ‘The Belles of Broadway’, ‘Night and Day - the Doris and Shirley Show’ and ‘The Christmas Belle.

Number of People in 2 Touring Party

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/TECHNICAL INFORMATION /NOTES

Technical Rating D (A, B, C, D,) as per NTS Format

Technical Links https://www.dropbox.com/sh/2vniuhi6x40k5pl/AACnzutXsQFkVBgDw5kxlLf9a?dl=0

Theatre Formats All of the above would work

Bump‑in Time 2 Bump‑out Time 1

In-Brief Audio Requirements 1 X 8 Channel Mixing Console 1 X Stereo System Drive (needs to be at F.O.H.) 1 X F.O.H. EQ 1 X Multi Effects Unit 2 X Channels of Insertable Compressor Limiters 2 Sends/Monitor Mixes required 2 X High Quality Floor Monitors 2 X Channels of 31 Band EQs Gina will provide her own Sennheiser ew300 G3 series, wireless in-ear monitors which will need an additional Auxiliary Send with its own EQ.

MIXING DESK REQUIREMENTS CH. INSTRUMENT 1 * GRAND PIANO (as required by venue) 2 Keyboard (extra channel if piano not available) 3 iPAD L (DI required) 4 iPAD R (DI required) 5 GUITAR (DI (will be provided) 6 VOCAL GINA (** microphone will be provided) 7 VOCAL PIANO (wireless microphone required) 8 REVERB

PLEASE NOTE: * If Grand Piano is not available, Channels 1 and 2 will be required for Keyboard Left and Right, along with 2 DIs. ** Gina will supply iPad, iPad lead and Sennheiser ew500 G3 wireless microphone system and Sennheiser e965 microphone.

In-Brief Staging Requirements Describe your set and construction. Grand Piano required. Guitar, guitar stand, stool, straight mic stand and iPad all supplied. It’s a How does it sit on stage? Is a fly very minimal show with regard to staging, with most things supplied. Keyboard can be supplied system required? Any technical if needed. warnings? Do you require an orchestra pit? Piano? Smoke/ strobe machine etc?

Stage Dimensions MIN. STAGE WIDTH MIN. STAGE DEPTH MIN. STAGE HEIGHT MIN. WING SPACE (metres) (metres) (metres) (metres) 4 3 0 0

Venue Crew Requirements LIGHTING CREW SOUND CREW STAGE CREW TOTAL VENUE CREW (hours) (hours) (hours) (hours) 4 4 0 8

Crew Notes I will bump-in staging and bump-out after ‘meet and greet’ in foyer at conclusion of show. Usually departed theatre by an hour after show concludes.

Transport Notes N/A

Industry Reference Mark Fawcett | Cardinia Cultural Centre | 1300 887 624 | [email protected]

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Duration of show in minutes THE WORLD KITCHEN Durational (from one hour to multi-day) Not including interval

THE VILLAGE FESTIVAL OF NEW Does the show have an Yes 15 minutes PERFORMANCE interval, and if so, how long? Performance and 2013: Canberra - Centenary of Canberra Festival Touring History 2014 - 2016 (annually): Edinburgh Gardens, North Fitzroy - The Village Festival

2016: Castlemaine - The Village Winter Festival

2016: Wick Studios, Brunswick - Barkly Arts Showcase Contact Person Ariel Valent

Email [email protected] 2017 (forthcoming): Acland St Plaza, St. Kilda - City of Port Philip Number of People in Contact Phone 0414 367 300 3 to 6 Touring Party Organisation Website thevillagefestival.com.au Touring Personnel Suzanne Kalk | Artistic Director | Yes (depending on time) State VIC Stuart Vaskess | Production Manager | Yes (depending on time) History and Background The Village Festival is a curated festival underpinned by intimate engagement between artists Evi Van Der Niet | Host / Stage Manager | Yes (depending on time) and communities. Wherever it travels, The Village creates an alternative utopian environment in which creativity, beauty and personal connection can flourish. The Village’s values are: Sandra Fiona Long | Host | depending on time and scale creativity, inclusiveness, unexpectedness, intimacy, wholeness and counter-mainstream integrity. Clay Ravin | Host | depending on time and scale Founded in 2004 by Ian Pidd, Suzanne Kalk and Stuart Vaskess, The Village has produced Rob Ramsay | Production Assistant | depending on time and scale 45 festivals over eleven years. As a travelling arts festival, touring is integral to the modus operandi. /MARKETING AND COMMUNITY ENGAGEMENT Written by

Directed by Suzanne Kalk Key Audience and The World Kitchen has a very broad appeal. It feeds into Australia’s obsession with food Marketing Notes (particularly through television), and gives it a gentler, community feel. It will be of particular Creative Team Suzanne Kalk (conception); Evi Van Der Niet (host / stage manager); Stuart Vaskess (design / interest to communities that want to engage more with their diverse cultures. build); Sandra Fiona Long (host) NB: The World Kitchen is not intended as a ticketed event in its own right; rather it is ideally Artform Visual Theatre located where people are already gathered (a plaza, shopping street, festival, theatre show). As Australia’s travelling arts festival, The Village can also provide this festival with a carnival Marketing Tagline A performative food stage: the imaginary love-child of Nigella and the Swedish chef! atmosphere. Synopsis The World Kitchen is a live food performance stage. Described as the imaginary love child Marketing Selling Points The World Kitchen is an exciting concept that will appeal to a very broad cross-section of any of Nigella and the Swedish chef, The World Kitchen is a unique way to bring food and community. performance together. However, it needs to be “filled” with chefs/cooks from the local community. This represents an The Village Festival’s World Kitchen is a mobile food stage that includes commercial cookery excellent opportunity for a presenter to “”up-sell”” The World Kitchen; engaging local identities equipment, steel benchtops, sinks, a built-in waste water capture system, plus pots, pans, (artists, musicians, performers, sportspeople, celebrities) is a key way to broaden the concept’s cooking utensils and more. appeal. The World Kitchen is not about producing the fanciest most spectacular food; rather it is about extracting the stories behind the food, getting to know the people who create the food and Opportunities for participation can also provide a “hook”. For example, running a competition having fun with cooking. The World Kitchen hosts food demonstrations from the serious to for a home cook to be part of an “”Iron Chef”” show competing against a professional local chef. the spurious, a spectacular “”Iron Chef”” competition, and/or other programs that are tailored to reflect the host community. It can showcase local restauranteurs, home cooks and special Clips https://www.youtube.com/watch?v=8TGwDPFesDA guests and is hosted by skilled MCs that keep the “”slow burn”” entertainment engaging. The https://www.youtube.com/watch?v=EbK81ncnmzo” World Kitchen can also feature music and dance performances from cultures that match the style of food being cooked. Marketing Materials https://www.dropbox.com/s/c2focmxcehlkrfh/Village%20Showcase%20Victoria%202016%20 Draft%205.pptx?dl=0 (Powerpoint Presentation about The Village Festival) Audiences are encouraged to get involved in the creation and the tasting of the finished products. https://www.facebook.com/VillageFestival/ (Village Festival Facebook page) Short Review I appreciate the magic that is derived from combining staged and roving events; that a space is created to enable spontaneity, fortune, blunder and interventions that place creativity at the https://www.dropbox.com/s/jqzc93xj0u6oyr2/eg16v4flier.jpg?dl=0 (Example of promotional center of human experience. The Village claims a space where artistic expression is part of the material) natural environment. (World Kitchen participant) https://www.dropbox.com/s/i9z7zr9ob82wgjz/TN_%2326_04.pdf?dl=0 (Feature article in Availability 01/05/2017 - 31/01/2019 Northsider Newspaper October 2016)

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Promotional Images https://www.dropbox.com/sh/gkc72u1nlg717bo/AACUxry2G3qB9ZinMUD9Sjiea?dl=0\ Crew Notes We can be fully self-contained if required, although appreciate a local crew member if possible..

Community Engagement The World Kitchen is a Community Engagement project. We don’t simply turn up on the day Transport Notes The World Kitchen can travel in a dual cab ute for smaller iterations. For larger productions (or Activities with the kitchen. Rather, we visit your community (or partner with you) in the months leading when combined with other Village Festival activities/infrastructure), the vehicle is a 3 tonne truck up to the production and unearth a variety of remarkable, popular and otherwise interesting or container transport. stories with food preparation as the medium. We can work to a brief to engage particular segments of the community. Industry Reference Tamara Saulwick | Gasworks Arts Park | 03 8606 4200 | [email protected]

The World Kitchen is an excellent opportunity to engage with a community’s food growing culture, including home / co-op veggie growers, restaurants and agriculture, and links well with /NOTES other food activities.

Content Warning No

/BUDGET AND FEES

Budget Category Ready to Go - available for one-off performances, no remount required

Remount Cost $

Weekly Fee $

Per-Performance Fee $ 6000

Royalties %

Describe your APRA obligations if applicable

Budget notes $6000 is a suggested minimum. Budget will be negotiated alongside discussions about location, length, scope and complexity.

/TECHNICAL INFORMATION

Technical Rating D (A, B, C, D,) as per NTS Format

Technical Links n/a

Theatre Formats Outdoors (Plaza, Park, Festival), Flat Floor, Hall, Foyer

Bump‑in Time 4 Bump‑out Time 4

In‑Brief Lighting Flexible lighting requirements if done at night. Requirements

In-Brief Audio Requirements Needs 2-3 microphones, mixing desk, auxilliary input, PA to fit space (Village Festival can provide in most cases)

In-Brief Staging Requirements Flat area required. Can range in size from 4m x 4m to 10m x 10m. We can work to your limitations. However it needs to be in an area where food preparation is allowed. Describe your set and construction. How does it sit on stage? Is a fly Whilst we have a self-contained grey water system, we do need to be able to pump this to a system required? Any technical drain or suitable outdoor location (once every day or so). warnings? Do you require an orchestra pit? Piano? Smoke/ strobe machine etc?

Stage Dimensions MIN. STAGE WIDTH MIN. STAGE DEPTH MIN. STAGE HEIGHT MIN. WING SPACE (metres) (metres) (metres) (metres) 4 4 to 5 3 0

Venue Crew Requirements LIGHTING CREW SOUND CREW STAGE CREW TOTAL VENUE CREW (hours) (hours) (hours) (hours) 0 4 0 4

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Duration of show in minutes GOD BLESS AMERICA 100 Not including interval

FRED SMITH PRODUCTIONS Does the show have an Yes interval, and if so, how long?

Performance and This is a new show. We performed it at Smith’s Alternative in Canberra and the Django Bar in Touring History Sydney in late 2016. It went down really well and so we’re keen to bring it to theatres.

At this point, we have some video footage of the show but it’s not as well produced as we would like it to be. We’re looking to film a performance in late March, with a view to making better video material available in April.

Contact Person Fred Smith The show is similar in format to the Dust of Uruzgan show which we toured extensively with Email [email protected] RAV, Artour, CAWA, Artack NT and Eastern Riverina Arts, but the content is a little lighter than that show. Contact Phone 0403 816 311 Number of People in 5 Organisation Website fredsmith.com.au Touring Party

State ACT Touring Personnel Fred Smith|Narrator, SInger Guitarist|Yes History and Background Fred Smith Productions presents shows that combine song, story and images to entertain, Liz Frencham|Double Bass, Backing Vocals|Yes engage and explain the world we live in. Carl Pannuzzo|Percussion, keyboard|Yes Over the last three years, we worked with RAV, CAWA, ArtbackNT and Artour to present over 80 performances of the acclaimed Dust of Uruzgan show in venues around Australia ranging Dave O’Neill|Violin, Electric, Guitar Mandolin|No but replacable from the Princess Theatre to the Tennant Creek RSL. Steve Vella|Audio Tech|No but replacable We maintain a profile through concerts and performances on the Australian music festival circuit. Touring is the financial and spiritual lifeblood of our organisation: we connect with people and /MARKETING AND COMMUNITY ENGAGEMENT start conversations. Key Audience and Key audience: anyone who watches or listens to the news; music fans; people who came to see Written by Fred Smith Marketing Notes the Dust of Uruzgan show.

Directed by Fred Smith We have developed a strong following in Victoria from the Dust of Uruzgan tour in 2014/15 as Creative Team Fred Smith, Liz Frencham, Carl Pannuzzo, Dave ONeill well as performances at festivals in Victoria and beyond. We have over 2000 email addresses on our Victorian email list. Artform Cabaret Fred Smith has a long track record of appearences on radio. He has been the subject of an Marketing Tagline Fred Smith’s tragicomical musical safari through the USA, a troubled country just south of Australian Story feature and a session on ABC Conversations. His unique combination of Canada. substance and song are well known to editors and producers in Victoria and nationally.

Synopsis With America going nuts, Fred Smith leads a musical safari through the main streets and back Marketing Selling Points This is a unique and thoroughly conceived show, offering insights into American society at what roads of the United States of Anxiety in an attempt to offer some sort of explanation for it all. is a bizarre and fascinating period in US history. As one audience member said: “Amidst all the rancour and fear, it was genuinely therapeutic to have such a thoughtful, wistful analysis of the Fred spent three years living and touring in the US and returned to release the album Texas, a US.” song cycle documenting America a divided, shaky and a little hungover from the first term of GW Bush. Fred Smith has an extraordinary back story as musician, author, diplomat, peacekeeper and radio broadcaster. This gives the media plenty to get their teeth into, particularly on radio The critics loved it. Warwick McFadyen in the Age, wrote “Smith breezes across country, folk, where he is able to perform songs live to air as well as provide lucid opinions on current affairs. soul and blues to deliver his wry observations on American life”, and the SMH described it as ‘a wonderful, quirky and irreverent look at the United States and its idiosyncrasies.’ Clips https://www.youtube.com/playlist?list=PLukE1Y6Abcjhu1PoR6GlpIAHxLYVwtYpI

Fred will be presenting songs from Texas and a few more he has written since, interspersed Marketing Materials https://www.dropbox.com/home/God%20Bless%20America-%20Marketing%20Materials with yarns and observations from his inconclusive experiences in the home of the free. He will Promotional Images https://www.dropbox.com/home/God%20Bless%20America-%20Marketing%20Materials/ be accompanied by Liz Frencham on double bass and Carl Pannuzzo on percussion. Media%20Photos?preview=Fred+Smith+wins+third+place+in+the+quadriennial+All+American+

Smiling+Competition.JPG This is Fred Smith doing what he does best: weaving song, story, images and comedy to convey a nuanced comprehension of a complex society - a nourishing journey for those who dont mind a bit of protein with their music.

Short Review “A wonderful, quirky and irreverent look at the United States and its idiosyncrasies”. Smith has a lovehate relationship with America, which he has neatly coupled to a wry and profound understanding of that complex society”. Bruce Elder, Sydney Morning Herald

Availability 01/01/2017 - 31/12/2019

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Community Engagement We can offer the following range of workshops suitable for all ages and skill levels: Venue Crew Requirements LIGHTING CREW SOUND CREW STAGE CREW TOTAL VENUE CREW Activities (hours) (hours) (hours) (hours) Fred Smith - Songwriting Principles and Practice 0 0 0 0

Fred Smith explains what make great songs work, then takes you through the process: how to Crew Notes If we bring our own sound engineer, we may still require some assistance in bumping in. start, how to keep going, and how to finish a song! Transport Notes If you can provide the PA, we travel in two station wagons. If we provide PA and lights, we will Liz Frencham Performance require a one ton van and a station wagon.

Liz Frencham, veteran of 1000 stages, offers some tips on how to manage stage fright, noisy Industry Reference Phillipa Maughan | Country Arts West Australia | 08 92006205 | [email protected]. crowds and dodgy PA systems and present your best and authentic self on stage. au

Carl Pannuzzo - Harmony singing /NOTES This workshop looks at ways to find our natural sense of harmony.

Content Warning No

/BUDGET AND FEES

Budget Category Ready to Go - available for one-off performances, no remount required

Remount Cost $

Weekly Fee $

Per-Performance Fee $ 3500

Royalties %

Describe your APRA Show includes 12 songs registered with APRA obligations if applicable

Budget notes If we/you are able to organise a contiguous shows in close vicinity to one another we can reduce the per show fee. Likewise if you can provide audio PA and engineer.

/TECHNICAL INFORMATION

Technical Rating D (A, B, C, D,) as per NTS Format

Technical Links https://www.dropbox.com/home/Tech%20Specs%20DoU%204%20Piece%20Band?preview=St age+Plot+tech+specs+Fred+Smith+4+piece+band+Dust+of+Uruzgan.doc

Theatre Formats All formats

Bump‑in Time 2 Bump‑out Time 1

In‑Brief Lighting Two to four spots and a general wash. Projector and screen Requirements

In-Brief Audio Requirements 4 vocal microphones, 4 DIs, Drum mikes

In-Brief Staging Requirements Describe your set and construction. How does it sit on stage? Is a fly Very simple. It’s a four piece band on the stage combined with a projector and screen. We can system required? Any technical provide projector and screen if you don’t have one. warnings? Do you require an orchestra pit? Piano? Smoke/ strobe machine etc?

Stage Dimensions MIN. STAGE WIDTH MIN. STAGE DEPTH MIN. STAGE HEIGHT MIN. WING SPACE (metres) (metres) (metres) (metres) 5 4 0 0

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MELBOURNE CHAMBER Touring Personnel William Hennessy | Director | Yes ORCHESTRA REGIONAL Melbourne Chamber Orchestra | Orchestra | Yes TOURING SEASON 2018 /MARKETING AND COMMUNITY ENGAGEMENT

MELBOURNE CHAMBER ORCHESTRA Key Audience and While there is a market of committed classical music lovers in all areas, we find our touring Marketing Notes performances are attended by a diverse audience. The touring programming is structured for broad appeal and approachability, reaching patrons of all ages. An important market in some locations is families with children learning instruments; this is enhanced where education initiatives are possible. Contact Person Richard Jackson Marketing Selling Points An evening of inspiring and beautiful music making a unique cultural experience to touch the Email [email protected] heart.

Contact Phone 03 9650 3365 Opportunity to hear live orchestral music in your community, with music by the most famous composers Organisation Website mco.org.au

State VIC Hear Victorias pre-eminent chamber musicians and one of Australias most respected professional orchestras. History and Background Melbourne Chamber Orchestra is the pre-eminent small orchestra in Victoria. Our mission is to develop the chamber music and small orchestra sector in Victoria and to provide every MCOs unique, approachable style is enjoyable for both newcomers and experienced concert- Victorian with the opportunity to experience live chamber music. goers.

As a small, flexible ensemble, we believe we can play a crucial role in providing access to fine Clips https://www.youtube.com/watch?v=ZoRKcIhkCec&t=10m music across the state. We have been involved in touring Victoria for over a decade, serving the Marketing Materials https://app.sugarsync.com/iris/wf/D3233764_07332936_679845 needs of regional audiences and adding diversity to the profile of the arts across the state. Promotional Images https://app.sugarsync.com/iris/wf/D3233764_07332936_679828 Written by Various Community Engagement Available engagement activities may include masterclasses, pre-concert talks and post- Directed by William Hennessy Activities concert engagements, depending on our travel schedule. An additional fee may be levied for Creative Team Melbourne Chamber Orchestra; William Hennessy; soloists TBA engagement activities.

Artform Live Music Content Warning No

Marketing Tagline Be inspired by Victorias amazing small orchestra.

Synopsis Melbourne Chamber Orchestra has toured well over 100 orchestral and chamber music /BUDGET AND FEES performances to venues in every corner of Victoria. In 2018s touring season, we build on our experience providing presenters with performances of the highest quality, with creative, Budget Category In Development - work which will be produced and premiered in time for touring during 2018/19 approachable fine music programming. We are offering orchestral performances from 13 to 25 Remount Cost $ musicians and music with chamber ensembles from 5 to 8 musicians. Well-loved composers and music anchor presentations that are enthusiastically received by our touring audiences. Weekly Fee $

Short Review “I enjoyed the opportunity to attend a live performance with quality musicians and music in Per-Performance Fee $ a regional centre. The personalities of the musician shine through the music making it a very enjoyable experience.” Audience member, Sale Royalties %

Availability 01/03/2018 - 30/11/2018 Describe your APRA Pricing assumes venue is APRA licensed. If not, please contact us. obligations if applicable Duration of show in minutes 100 Not including interval Budget notes Performance fees will be available at Showcase. Typical show fees will be are $3000-$6000 for chamber music performances and $7000-$11000 for orchestral performances. Does the show have an Yes interval, and if so, how long? /TECHNICAL INFORMATION Performance and We offer new concerts each year. Since 2008 we have produced 130+ performances in regional Touring History Victoria, working with 35+ professional and volunteer presenters in nearly every corner of Technical Rating Victoria. D (A, B, C, D,) as per NTS Format Number of People in 5 to 30 depending on production Technical Links https://app.sugarsync.com/iris/wf/D3233764_07332936_679981 Touring Party Theatre Formats Most spaces are possible. Raked floors may cause difficulties.

Bump‑in Time 3 Bump‑out Time 1

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/NOTES In‑Brief Lighting Standard orchestral wash that covers full width of orchestra. Musicians should be well-lit whilst Requirements avoiding light shining directly in their eyes. Music should be sufficiently well-lit for ease of reading which may require lights above or behind the performers. See stage plan as a guide to where players will be standing.

The ability to provide some coloured lighting and specials is ideal but not required.

In-Brief Audio Requirements Hand-held mike is usually required for announcements/introductions from the stage

Instruments required: Grand piano may be required, depending on repertoire

In-Brief Staging Ideally the venue will provide at least 12 matching music stands, although MCO players can Requirements bring their own if required. At least 4 matching chairs for cellists, without arms (straight back, Describe your set and construction. flat seat). How does it sit on stage? Is a fly system required? Any technical For performances that include an education program component, approximately 20 music warnings? Do you require an stands and 8 chairs would be required. It’s preferred that venues (eg. older-style town halls) do orchestra pit? Piano? Smoke/ not have a raked stage or that any rake is minimal. For acoustic reasons, MCO prefers to set as strobe machine etc? close to the front of the stage as possible, with minimal use of curtains.

Stage Dimensions MIN. STAGE WIDTH MIN. STAGE DEPTH MIN. STAGE HEIGHT MIN. WING SPACE (metres) (metres) (metres) (metres) 9 6 2 0

Venue Crew Requirements LIGHTING CREW SOUND CREW STAGE CREW TOTAL VENUE CREW (hours) (hours) (hours) (hours) 5 5 7 17

Crew Notes Notes: Technical assistance required during bump-in and bump-out for basic setup (in particular unloading and lifting of harpsichord/chamber organ). As the orchestra only has one hour of rehearsal on stage, it’s important that a lighting operator is readily available during this period. Due to minimal sound requirements, lighting and sound are often covered by the same technician/crew.

Transport Notes We apply to Touring Victoria for vehicular expenses.

Industry Reference Rob Robson | West Gippsland Arts Centre | 03 5624 2530 | [email protected]

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GUERNICA Availability 15/02/2018 - 15/11/2018 THE MELBOURNE BALLET COMPANY Duration of show in minutes 75 Not including interval

Does the show have an Yes interval, and if so, how long?

Performance and 3 performances - Hawthorn Arts Centre - 2016 Touring History Choreography by Touring in Victoria and NSW is 2017 Contact Person Simon Hoy Simon Hoy Number of People in 13 Email [email protected] Touring Party

Contact Phone 0425 492 496 GUERNICA Touring Personnel Gemma Pearce | Dancer | Yes

Organisation Website melbourneballetcompany.com.au Maughan Jamerison | Dancer | Yes Jo Lee | Dancer | Yes State VIC Masha Peker | Dancer | Yes History and Background Since 2007, the Melbourne Ballet Company (MBC) has established a unique repertoire which is both innovative and accessible, while also fully acknowledging classical technique. Led Chloe Henderson | Dancer | Yes by Simon Hoy, the Company has already produced fifteen original programs. Supported by Kristy Lee Denovan |Dancer | Yes The Australia Council, Creative Victoria, Playing Queensland, and Regional Arts Victoria, the Company has now completed seven very successful national tours, including performances in Esen Thang | Dancer | Yes Victoria, NSW, Queensland, WA, Tasmania, ACT, and The Northern Territory. The Company has Francesca Giangrasso | Dancer | Yes built strong audience throughout Australia and beyond. Alexander Bryce | Dancer | Yes Written by Simon Hoy Joseph Phillips | Dancer | Yes Directed by Simon Hoy Adam Thurlow | Dancer | Yes Creative Team Juliet - Gemma Pearce, Romeo - Joseph Phillips, Tybalt- Alexander Baden Bryce, Mercutio - Samuel Harett, Paris - Adam Thurlow, Juliets Nurse Masha Peker, People of Madrid and Guernica Simon Hoy | Director | Yes - Artists of MBC Craig Boyes | Stage Manager | Yes Artform Dance Marketing Tagline Guernica is a love story inspired by Shakespeares Romeo and Juliet, set in the Spanish Civil /MARKETING AND COMMUNITY ENGAGEMENT War. Key Audience and Our programs, while not specifically targeted at particular age groups, have proved to be Synopsis Melbourne Ballet Companys Guernica - by Simon Hoy Marketing Notes extremely popular and accessible to people of all ages;

Music by Sergei Prokofiev Children - The Melbourne Ballet Company is committed to inspiring, exciting, educating, and

above all to draw in new generations to the world of dance and to embrace live theatre. Guernica is a tragic love story inspired by Shakespeares Romeo and Juliet, set in the Spanish

Civil War. In this atmosphere of destruction and sense of fear, when the darkness takes Younger Adults - Studies have shown that young adults are very attracted to the company’s over, two young characters find the light in their hearts: a wonderful love story, inspired by fresh, innovative, and athletic approach to dance. Shakespeares tragedy, which becomes the fulcrum of this narration. With the illusion of being

able to deal with the dark reality that surround them, the two lovers believe that the feeling of Sophisticated Audiences this program pushes the physical limits of this team of internationally bliss found in their love can win out against this evident human cruelty. Outside the narrative, regarded dancers. the central inspiration behind Hoys Guernica is Picassos arresting 1937 master-work “The Guernica” which to this day predominates as one of the most powerful antiwar symbols. Marketing Selling Points Guernica is a narrative ballet, inspired by Shakespeares Romeo, to Prokofiev’s famous score.

In 2015 MBC Director, Simon Hoy was funded by Creative Victoria to produce Guernica. The The production embraces classical and contemporary techniques and is performed by a team ballet was premiered in 2016 and received critical acclaim. of highly regarded professional dancers - formerly from The Australian Ballet, Sydney Dance Company, and The Paris Opera Ballet. Short Review “You will not get a cheap version of mainstream productions with the Melbourne Ballet

Company. The small cast brought a strong stage presence, with Hoys signature lyrical Masterclasses in contemporary and classical techniques, and our choreographic workshops movements brought to life by the brilliant artistry of the dancers.” provide an opportunity to experience new dance techniques and to learn current repertoire,

gaining further performance appreciation, this strategy has proved also to increase audience SYN MELBOURNE numbers.

”Essential and compelling viewing” The Herald Sun Clips Footage Guernica https://vimeo.com/183193478

MBC 2016 https://vimeo.com/153664383”

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Marketing Materials Showcase Victoria Marketing Material In-Brief Audio Requirements 3.5mm jack from the laptop to audio desk. https://www.dropbox.com/sh/xx6poggt1udghl4/AABAy8LkCBHoQEYRDhIngntva?dl=0 Standard sound rig Promotional Images http://www.melbourneballetcompany.com.au Venue standard sound system (left / right FOH Fill) Community Engagement WORKSHOPS Activities In-Brief Staging Melbourne Ballet Company is proud to offer you the opportunity to book an MBC master class. Requirements Several sets and props The MBC master class gives ballet teachers and students from your community the opportunity Describe your set and construction. to be taught by some of Australias foremost artists and teachers and is an excellent way to How does it sit on stage? Is a fly Five rolls of its own grey tarkett (an obligatory standard dance surface) Tarkett is light in color build audiences for the show.. system required? Any technical in order to reflect the lighting design together with some six side-lights which are added to any warnings? Do you require an venue that does not have side lighting to insure the sharp lighting effects which are sought in all Fairy Ballet, 4 - 5 Years old. orchestra pit? Piano? Smoke/ venues. strobe machine etc? Junior Classical and Melbourne Ballet Company Repertoire. 13 20 Years old with elementary or Stage Dimensions MIN. STAGE WIDTH MIN. STAGE DEPTH MIN. STAGE HEIGHT MIN. WING SPACE above experience. (metres) (metres) (metres) (metres)

Senior Classical and Melbourne Ballet Company Repertoire. 8 6 6 3

Senior Classical on Stage - Warm Up 13 20 Years old Venue Crew Requirements LIGHTING CREW SOUND CREW STAGE CREW TOTAL VENUE CREW (hours) (hours) (hours) (hours) Content Warning No 4 0 4 8

Crew Notes MBC requires 4 hours to bump-in and 2 hours to bump-out. The venue is required to provide a /BUDGET AND FEES front projector and a white cyclorama. Transport Notes This production require several sets and large props; Everything tours in a 4.2m moving van. Budget Category Tour Ready - production has completed a premiere season and is now seeking presenters to build a tour and source tour funding, if required. Industry Reference Kristy Witmitz | Hawthorn Arts Centre | 03 9278 4770 | [email protected] Remount Cost $ 35309 Weekly Fee $ 19973 /NOTES Per-Performance Fee $

Royalties % 8

Describe your APRA Blanket APRA licence obligations if applicable

Budget notes

/TECHNICAL INFORMATION

Technical Rating A (A, B, C, D,) as per NTS Format

Technical Links

Theatre Formats Proscenium Arch

Bump‑in Time 3 Bump‑out Time 2

In‑Brief Lighting MBC uses a standard venue rig (3 colour wash and gobo wash) Requirements 6 x Sidelight Profiles (on booms or H stands)

The Company has access to a wide range of lights and can provide extra lights if necessary.

The scenery is projected onto a white cyclorama. Ideally the venue is to provide a front video projector

and a white cyclorama. The projector needs to be powerful enough to project a clear image onto to the cyc when side lights are at (around) 50%. MBC can provide a suitable projector if necessary.

MBC tours 5 rolls of tarkett, lighting console and side light colour gel.

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Number of People in 6 LAMB Touring Party

Email [email protected] /MARKETING AND COMMUNITY ENGAGEMENT Contact Phone 03 9533 8082 Key Audience and #NAME? Organisation Website redstitch.net Marketing Notes

State VIC Marketing Selling Points New original music specific to the show by iconic Australian musician, Mark Seymour.

History and Background With a reputation for premiering exceptional text-based contemporary theatre from around - Written by highly acclaimed and award-winning playwright, Jane Bodie. the world, Red Stitch Actors’ Theatre has been collaborating with regional venues since 2010. Developing, producing and touring new Australian work to regional audiences is pivotal to - Good press quotes available as reference from previous work Red Stitch’s vision to advance the vitality of theatre in Australia, ensuring that new Australian writing is widely accessible to audiences for which the work has been written and created, while - previous acclaimed Red Stitch tours (Jurassica, the Kitchen Sink, Stop.Rewind, Red Sky developing the canon of work by Australian playwrights. Morning) support trust in the material and brand recognition

Written by Jane Bodie - This is a local Australian story addressing universal themes. It is accessible and directly Directed by Corey McMahon relevant to regional audiences.

Creative Team Composer Mark Seymour, Actors Paul Ashcroft, Eva Seymour, Sarah Sutherland, Dramaturge Clips Promotional images will be available from March 2017. Production photos will be available Ella Caldwell following the premiere production in early 2018. A high quality teaser will be available prior to the Showcase Victoria pitch. Teaser will include footage of the work in development including Artform Drama performers and music.

Marketing Tagline A play about family, the land and being the one who stays. With original music by Mark Marketing Materials All materials will be available following the production in early 2018. A teaser and images of the Seymour. artists developing the work will be available prior to the Showcase Victoria pitch.

Synopsis Written by multi-award winning playwright Jane Bodie, LAMB is touchingly beautiful play with Promotional Images https://drive.google.com/open?id=0Byb-TTSCNzeDX3NjWF9DT1d3VzQ songs featuring original music by Mark Seymour (Hunters and Collectors). LAMB follows two generations of family, set on an Australian sheep farm. Community Engagement Acting masterclass available at an extra cost (performers are experienced and able to facilitate Activities workshops for theatre students.) A bittersweet story of Annie, Kathleen and Patrick, 3 siblings born onto their parents’ property, LAMB explores the lies and secrets kept, loves lost and opportunities missed. Told with subtlety -Education Kit and humour, LAMB spans 40 years, telling an intimate story of one family and rural life. Mark Seymour’s exquisite original songs feature as part of the story throughout the production. -Engagement with local libraries, schools and community groups regarding play Themes and social outcomes. Short Review “Bodie’s writing is both funny and stunningly lyrical...honest human and true.” - Irish Times -Post show Q&A “[Seymour is] one of the countrys finest vernacular songwriters ... The songs grow on you like a landscape, from the back of a flatbed, sun on your skin and the sky vast above you.” - Daily Content Warning Yes. Moderate language, adult content. Review

“Award-winning director Corey McMahon excels in this standout production” InDaily. /BUDGET AND FEES Availability 30/06/2018 - 01/12/2019 Budget Category In Development - work which will be produced and premiered in time for touring during 2018/19 Duration of show in minutes 90 Remount Cost $ 30000 Not including interval Weekly Fee $ 14000 Does the show have an Yes interval, and if so, how long? Per-Performance Fee $

Performance and This production will receive its premiere at Red Stitch in early 2018. This will be a 5 week Royalties % 16.5 Touring History season.

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/NOTES Describe your APRA TBD obligations if applicable

Budget notes

/TECHNICAL INFORMATION

Technical Rating C (A, B, C, D,) as per NTS Format

Technical Links

Theatre Formats Adaptable for most formats

Bump‑in Time 6 Bump‑out Time 2

In‑Brief Lighting TBD - likely to be a simple rig, with only minor adjustments to house rig required. Requirements

In-Brief Audio Requirements Live music performed on stage, requiring guitar DIs, vox mics x 2, foldback, plus limited playback via QLab.

In-Brief Staging Requirements Describe your set and construction. How does it sit on stage? Is a fly The show will be built to tour with simple staging which could be transported in a van or small system required? Any technical truck. warnings? Do you require an orchestra pit? Piano? Smoke/ strobe machine etc?

Stage Dimensions MIN. STAGE WIDTH MIN. STAGE DEPTH MIN. STAGE HEIGHT MIN. WING SPACE (metres) (metres) (metres) (metres) 8 6 2 1

Venue Crew Requirements LIGHTING CREW SOUND CREW STAGE CREW TOTAL VENUE CREW (hours) (hours) (hours) (hours) 6 6 0 12

Crew Notes LX pre-rig requested.

Transport Notes TBD. Maximum would be 3-tonne truck plus 8-seater van.

Industry Reference Margaret Bourke | Geelong Performing Arts Centre | 03 52251201 | [email protected]

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Performance and - Presented by Federation Square Melbourne in July 2015. BOATS Touring History - Presented by Central Geelong Marketing in September 2016. POLYGLOT THEATRE - We are currently in discussion with three local council festivals to tour Boats in March 2017.

Number of People in 4 Touring Party

Contact Phone 0405 636 434 /MARKETING AND COMMUNITY ENGAGEMENT Organisation Website polyglot.org.au

State VIC Key Audience and Children aged 3 - 12 and their families. Marketing Notes History and Background Polyglot Theatre is Australias leading creator of interactive and participatory theatre for Boats activates public space, it is engaging for all ages. The audience can participate in the children and families. Our distinctive artistic philosophy has placed us at the international work at any stage over the two hour rolling performance. Some children stay for ten minutes, forefront of contemporary arts experiences for babies and children up to 12 years, meeting with others stay for an hour or two. professional acclaim and recognition around the world. Inspired by the artwork, play and ideas of children, we create imagined worlds where audiences actively participate in performance Marketing Selling Points Boats works best as a free event in public spaces or areas where a family audience will through touch, play and encounter. be present. It can work as a destination event in its own right, or can supplement ticketed programming as an additional free event. Written by Boats is a highly physical work that gets kids moving! Using the simple materials that are Directed by Sue Giles Polyglot’s signature, Boats offers a framework for free, creative play that fosters imaginative thinking and is great fun. Creative Team Original performers: Jacob Williams, Christian Bagin, Lachlan MacLeod and Christy Flaws Clips Trailer: https://youtu.be/cMx-io9qthE Artform Childrens Marketing Materials Marketing pack: https://www.dropbox.com/s/mrdhula9gnzf6hn/2016-PACK-Boats-Marketing. Marketing Tagline Boats is an adventurous play space for children, using colourful vessels to navigate urban pdf?dl=0 seascapes

Synopsis Boats is an adventurous play space for children of all ages, using colourful vessels to navigate Polyglot website: www.polyglot.org.au/performances/boats/ urban seascapes. Promotional Images https://www.dropbox.com/sh/56aqek0z2jeqv4z/AAD8fEcqe4yt1nrdOF13OiPma?dl=0

At a central mooring place, large lightweight boats wait patiently for childrens imagination and Community Engagement We offer an optional boat-making workshop for this work. Using simple materials, our workshop energy. Once aboard, the boats are propelled by a flurry of feet, with kids working as a crew for Activities artists facilitate a paper boat making workshop with children. This workshop is best suited to their own voyage across the high seas. As the boats journey, Polyglot artists float as castaways children aged 5 and over. to be rescued or as mysterious elements of the urban ocean. Together artists and children guide the boats to safe harbour, ready for new crew and the next adventure! Boats engages children Content Warning No in play that re-imagines the familiar and concrete into something unpredictable and fun.

Commissioned and first presented by Federation Square in Melbourne in 2015, Boats is one of /BUDGET AND FEES Polyglot Theatre’s newest touring works. With lightweight technical and crewing requirements, it’s perfect for public spaces and for presenters looking to augment ticketed programming with Budget Category Ready to Go - available for one-off performances, no remount required a fun, free, physical event. Remount Cost $ Short Review Weekly Fee $ Availability 30/06/2017 - 31/12/2019 Per-Performance Fee $ 6500 Duration of show in minutes 2 hour rolling session (2 sessions per day possible) Not including interval Royalties %

Does the show have an Describe your APRA No interval, and if so, how long? obligations if applicable

Budget notes Additional costs for the presenter include accommodation, per diems, travel and freight. A reduced rate can be offered for metropolitan Melbourne performances.

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/TECHNICAL INFORMATION /NOTES

Technical Rating D (A, B, C, D,) as per NTS Format

Technical Links https://www.dropbox.com/s/twlr7k6nqt0k25g/Boats%20Tour%20Specifications%20May%20 2016.pdf?dl=0

Theatre Formats Outdoors or large hall

Bump‑in Time 2 Bump‑out Time 1.5

In‑Brief Lighting n/a Requirements

In-Brief Audio Requirements n/a

In-Brief Staging Requirements Describe your set and construction. How does it sit on stage? Is a fly Large, relatively flat, open space required. Grass, sand or hard ground surfaces are all suitable. system required? Any technical Dressing room or marquee required for artists. warnings? Do you require an orchestra pit? Piano? Smoke/ strobe machine etc?

Stage Dimensions MIN. STAGE WIDTH MIN. STAGE DEPTH MIN. STAGE HEIGHT MIN. WING SPACE (metres) (metres) (metres) (metres) 10 15 4 0

Venue Crew Requirements LIGHTING CREW SOUND CREW STAGE CREW TOTAL VENUE CREW (hours) (hours) (hours) (hours) 0 0 8 8

Crew Notes We require one venue liaison for bump in and bump out. We also require one front of house staff member to assist with managing participants.

Transport Notes The set can travel in a 1 tonne van disassembled. If needed for a quick bump in, we can pre- assemble the Boats and freight them in a 3 tonne truck. An additional vehicle (eg. 6 seater van) is required for artist transport.

Industry Reference Emer Harrington | Arts Centre Melbourne | 03 9281 8717 | Emer.Harrington@artscentremelbourne. com.au

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Does the show have an No TRANSPLANT interval, and if so, how long? SUCH AS THEY ARE Performance and Castlemaine State Festival 2013 Touring History Tarrengower Puppet Festival 2014

Nati Frinj 2013

Club Voltaire, Melbourne Fringe Festival 2015

Kyneton Museum 2016

Contact Person Eliza-Jane Gilchrist Number of People in 3 Email [email protected] Touring Party

History and Background Such As They Are create experimental puppet shows in surreal worlds, putting audiences within touching distance of the action. Mixing the visuals of sculptor Eliza-Jane Gilchrist with /MARKETING AND COMMUNITY ENGAGEMENT the storytelling and performing talents of Mark Penzak, the resulting clash is part theatre, part installation, part puppetry and wholly unique. The company formed in London in 2007 before Key Audience and Transplant is 30 minutes in another world and so appeals to audiences wanting something settling in Castlemaine. Transplant has performed in festivals and a museum and was nominated Marketing Notes different. It has a magical element that caters to those looking for enchantment and surprise. for a Green Room award in 2015. Versatile and adaptable to odd spaces, touring will allow more people to experience something unique. It’s a good show for families with children (though not for under 7s).

Written by Mark Penzak and Eliza-Jane Gilchrist Puppet theatre audiences enjoy it. Directed by Ken Evans We think, presented correctly, it could appeal to the teenage market. Creative Team Mark Penzak performer, Eliza-Jane Gilchrist puppeteer, Tim Ratcliff performer, Dramaturgy Jude Anderson, Sound design Jacques Soddell Marketing Selling Points Transplant will give an audience something they’ve never seen yet at the same time, it’s enjoyable and accessible. Artform Visual Theatre Able to set-up in non traditional spaces, it can bring performance to new areas. Marketing Tagline A medical fairy-tale in peculiar puppetry Well acted, crafted and beautifully presented. Synopsis Transplant is a surreal medical drama with a fairy tale twist. It’s a magical, thought-provoking,

beautiful, participatory experience. A one-of-a-kind that will stand-out in any theatre or festival. We’ve noticed doctors and nurses find it particularly interesting.

The performance begins in a ‘sterilisation chamber’ where an intimate audience are prepared Clips https://youtu.be/vY7AbA82kvU by an efficient nurse. Aprons are distributed, gloves handed out; tictacs for breath, tissues for noses. Next they are escorted into the ‘operating theatre’ where a Doctor opens a body to reveal a beautiful inner world infected by a plague of toads that must be removed using literal Marketing Materials http://www.suchastheyare.com.au/transplant.html and metaphoric medical instruments. It’s a dangerous procedure which requires the audience’s assistance. The nature of the cure and plague is not explicit leading to much speculation of the Promotional Images https://www.dropbox.com/sh/pqxmv18j0mrbr63/AACpCagQMTO4kbRV-GT_pFPha?dl=0 audience afterwards and much enjoyment and wonder. Community Engagement We can offer workshops of varying lengths for teenagers, education kits if schools are Activities interested, behind the scenes views and post show discussions. Transplant is a 3 hander. Each performance runs 30 minutes and has an audience of 15. We can perform 6 times per day. Transplant was developed for Castlemaine State Festival, and has Content Warning No since played 3 other festivals. It was nominated for a Green Room award in 2015. If touring to a non-English speaking country, it can be performed without words.

Short Review Every now and again, there is a show that is so unexpected and unusual that it remains vividly /BUDGET AND FEES with you for quite some time after seeing it... a highly entertaining evening that ensures a full sensory experience for its audiences as they explore ideas of life and death and humanity.’ Budget Category Tour Ready - production has completed a premiere season and is now seeking presenters to Myron My - Theatre Press. build a tour and source tour funding, if required.

‘This would have to be one of the weirdest shows I saw.’ My about Town Fringe top 10. Remount Cost $ 0 Availability 02/01/2018 - 14/04/2018 Weekly Fee $ 6000 Duration of show in minutes 30 Not including interval Per-Performance Fee $

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/NOTES Royalties %

Describe your APRA obligations if applicable

Budget notes We’re available for tours and one-off events. For a one off engagement fee of $2200 + GST

/TECHNICAL INFORMATION

Technical Rating D (A, B, C, D,) as per NTS Format

Technical Links http://www.suchastheyare.com.au/transplant.html

Theatre Formats 2 small rooms next to each other or one space large enough to partition into 2 x 3m x 4m areas

Bump‑in Time 6 Bump‑out Time 3

In‑Brief Lighting None. Show entirely self-contained Requirements

In-Brief Audio Requirements None. Performance uses its own sound system. The sound level is fairly low.

In-Brief Staging The performance takes place inside two installations which we provide a Sterilization Station Requirements and an Operating Theatre. These can be erected next to each other in the same space or in two Describe your set and construction. separate spaces in close proximity such as adjoining rooms. How does it sit on stage? Is a fly system required? Any technical These spaces require a black-out. warnings? Do you require an orchestra pit? Piano? Smoke/ Both installations normally require a 3m x 4m area and a height of 215cm. There’s some strobe machine etc? flexibility so contact us if you have a particular space in mind.

Ideally, we also need an area where the audience can assemble prior to entering the performance but we can work around that if no space is available.

Stage Dimensions MIN. STAGE WIDTH MIN. STAGE DEPTH MIN. STAGE HEIGHT MIN. WING SPACE (metres) (metres) (metres) (metres) 6 8 2.5 0

Venue Crew Requirements LIGHTING CREW SOUND CREW STAGE CREW TOTAL VENUE CREW (hours) (hours) (hours) (hours) 0 0 0 0

Crew Notes

Transport Notes 1 van for 3 people plus set which we drive. Transplant could travel by plane.

Industry Reference Martin Paten | Castlemaine State Festival | 03 5472 3733 | [email protected]

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Does the show have an No THE PILGRIM interval, and if so, how long? BELLOABRIL THEATRE COMPANY Performance and 2015 Touring History 3 Presentations of Plan B Laboratory at Amphitheatre of Fine Art’s Museum Chile (WITH MULTICULTURAL ARTS 1 Set Aldea Yanapay Peru 1 Set Sesc Arsenal Brazil VICTORIA) 2 Set VIII Alternative Therapies Congress Brazil 3 Set Street Festival Invasion Lambe Lambe Chile 1 Set Universidad Alberto Hurtado Central Campus Chile

2016 Contact Person Astrid Mendez 3 Set Hollow Tree Gathering Abundance Farm Vic 2 Set Melbourne Latin Summer Festival at Federation Square Email [email protected] 7 Set Adelaide Fringe Festival at Royal Croquet Club 1 Set Victorias Multicultural Festival at Federation Square Contact Phone 0438 536 876 4 Set The Royal Melbourne Hospital 1 Set Light in Winter/ Solstice Celebration at Federation Square Organisation Website astridmendez.com 2 Set Storytelling Australia Victoria at RAW Garden State VIC 2 Set Mogo Bush Beats III NSW 3 Set The Village Festival in Edinburgh Gardens History and Background BelloAbril Theatre Company is a collaborative effort where artists from various nationalities 1 set= 3hr (2 breaks) work under the Artistic Direction of Astrid Mendez. The Director’s theatrical exploration reflects Number of People in on the poetic of the everyday life, looking for greatness in the inconspicuous and overlooked 2 details of culture and nature. Touring Party

Touring Personnel Astrid Mendez | Direction and performance | Yes The Pilgrim performance is an insight into our own journey as human beings. Emotions triggered are precious energy that provides relevant meaning for further exploration. The tour Eugenio Doeseffe | Tour documentation and technical support | No is the means by which the bond between the audience and this particular art expression is enhanced.

Written by Astrid Mendez /MARKETING AND COMMUNITY ENGAGEMENT

Directed by Astrid Mendez Key Audience and The Pilgrim’s target audience are people with a specific interest in unconventional performances Marketing Notes and personalised experiences. They are people with creative and inquisitive minds, emotionally Creative Team First part: Astrid Mendez- Overall Direction Second part: Astrid Mendez- Artistic Direction, tuned-in, curious and open to the challenge of a one-on-one theatrical interaction. The Pilgrim Sebastian Jara- Technical Direction, Aidan Rooney-Music Arrangements offers a pause from the busyness of the everyday life, allowing the participants to escape from Artform Puppetry Object theatre reality into an emotional illusion to the encounter with their childhood memories. This spectacle can be enjoyed by the whole family. Children under six years old should be accompanied by an Marketing Tagline Personal miniature theatre experience for all those open to the poetry and beauty of everyday adult. things Marketing Selling Points Personalised Experience: The Pilgrim is a personal and intimate performance. The artist and the Synopsis The Pilgrim is a one-on-one interactive puppet experience that was born in March 2015 during viewer experience a pause, a unique moment impossible to be reproduce it again. It’s a present- a two-month residency in Chile. Astrid Mendez initially conceived the character as a human oriented spectacle with a meditative approach. size puppet that later would evolve into a miniature theatre piece with the purpose to reach audiences in distant locations. For around 7 min. one person at a time is part of an intimate Interactive: It’s a participatory encounter where the captive audience is turn into actor of their story. The spect-actor is gently lead into a journey of a being that travels the world collecting own art experience. objects, memories and words. Through the experiences they unlock, he grows and his soul is nurtured. In The Pilgrim’s world everything has equal beauty and significance. The Pilgrim Made for everyone: The Pilgrim contains a universal message told through a non-verbal is an artwork that embraces and unfolds the beauty of simple events in our lives. On a first narrative. encounter, this simple message is an eye-opener to new participants and leads to a successful dialog between the artist and the viewer. The personal interaction that follows the performance Family-oriented: All age range are able to enjoy this experience. The only requirement is to be is a useful moment to connect with other’s experiences. The Pilgrim’s Cabinet Tour Project is open to the beauty of everyday things. the a means by which participants can express themselves spontaneously and learn about other peoples journeys. It’s a first step to unveil the wisdom of personal stories. Clips The Pilgrim promotional reel (1 min) https://vimeo.com/149259420

Short Review The Pilgrim is a magical and charming journey of music, stories and emotions. Crafted with The Pilgrim compilation (10 min including promo reel) Password: ThePilgrim_03 https://vimeo. exquisite detail, each piece of the story is a journey that allows you to embrace the beauty of com/201100985 the small things. Fantastic work of an artist who transmits true love and devotion to what she does! May you take The Pilgrim to the more souls you can! Tamara Oyarce - spectator Marketing Materials www.astridmendez.com/work/05work_puppets_elperegrino.html

Availability 03/01/2018 - 30/04/2018 www.thepilgrimscabinet.com

Duration of show in minutes www.facebook.com/thepilgrimscabinet Not including interval Promotional Images http://www.thepilgrimscabinet.com/ThePilgrim_highres.zip

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Community Engagement Since The Pilgrim is an eye-opener for people to find beauty on simple things it’s relevant Transport Notes The artist owns a camper van vehicle that contains a small theatre stage on the back. This vehicle Activities to explore through a children workshop where they can transform trash into a puppet. The is the transport for artist and assistant and also is the venue where The Pilgrim performance takes emphasis is on the memory that the objects carry, encouraging them to use skills as storytelling place. and performance to tell the story behind their creations. Industry Reference Andy Miller | Multicultural Arts Victoria | 03 9188 3681 | [email protected] For children under 6yo the workshop includes parents. The emphasis in this case would be the connection child-parent through the story and puppet making activity. We can supply resource packages for parents to continue exploring at home. /NOTES

Content Warning No

/BUDGET AND FEES

Budget Category In Development - work which will be produced and premiered in time for touring during 2018/19

Remount Cost $ 2900

Weekly Fee $ 5200

Per-Performance Fee $

Royalties % 10% Artistic Director / Creator

Describe your APRA obligations if applicable

Budget notes

/TECHNICAL INFORMATION

Technical Rating D (A, B, C, D,) as per NTS Format

Technical Links N|A

Theatre Formats Street theatre performance

Bump‑in Time 1 Bump‑out Time 1

In‑Brief Lighting Lighting provided by the artist. No production needed Requirements

In-Brief Audio Requirements Audio provided by the artist. No production needed

In-Brief Staging The Pilgrim’s Cabinet is a theatre stage on the back of a camper van vehicle. It’s a space that Requirements welcomes 1-2 spectators. The vehicle counts with all the set and technical equipment for the Describe your set and construction. show. How does it sit on stage? Is a fly system required? Any technical The theatre installation consists of two doors that include several drawers and doors. Inside of warnings? Do you require an them there are booklets, a phone and several objects for people to interact with. orchestra pit? Piano? Smoke/

strobe machine etc? Measurements of the vehicle as follow width: 1.80m height: 2.14m length: 5.15m

Stage Dimensions MIN. STAGE WIDTH MIN. STAGE DEPTH MIN. STAGE HEIGHT MIN. WING SPACE (metres) (metres) (metres) (metres) 1.4 1.2 1.93 0

Venue Crew Requirements LIGHTING CREW SOUND CREW STAGE CREW TOTAL VENUE CREW (hours) (hours) (hours) (hours) 0 0 0 0

Crew Notes N/A

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Short Review Email from Art Centre Melbourne concierge: IMAGINARY “She said it was so fantastic to see a space for children and adults to be engaged and ARCHITECTURE explore. She specifically mentioned it was great to have an activity that encouraged childrens imaginations and allowed them to do whatever they wanted to do mentioning the wonder they LARA TUMAK & COLLABORATORS experienced in the installation. She was adamant that I pass this on.””

Availability 01/07/2017 - 30/06/2018

Duration of show in minutes Not including interval

Does the show have an No Contact Person Lara Tumak interval, and if so, how long?

Email [email protected] Performance and Smorgan Plaza, 2017, 2 Weeks with a live host, Arts Centre Melbourne Touring History Contact Phone 0414 675 180 Artplay Gallery, 2015, 12 Weeks without a host, ArtPlay Organisation Website laratumak.com Number of People in 2 to 4 depending on your venue size and capacity State VIC Touring Party

History and Background Lara Tumak & Collaborators are hands-on makers of theatre, puppetry and installations. They Touring Personnel Lara Tumak | Creator draw inspiration from the pre-cinematic analogue art of shadows, illusionists and flip-books. Paul Lim | Lights

They believe that resourcefulness inspires creativity and vice versa. They hope to rally Claudia Tory | Collaborator community spirit and gather their boxes, to share their love of recycling, and collect the stories Rory Kelly | Collaborator of their participants along the way.

Since 2010 they have undertaken residencies with ArtsHouse and Arena Theatre and presented with ArtPlay and Arts Centre Melbourne. /MARKETING AND COMMUNITY ENGAGEMENT

Written by Key Audience and Suitable for families - the young, the old and those in between. You can choose to view, Marketing Notes participate or both. There is no time limit, you are welcome as little or as long as you like Directed by Lara Tumak and you can make something as simple or as fancy as your heart desires. In this respect, it is Creative Team Concept & Design by Lara Tumak, Lights by Paul Lim (Additive), with support from Astrid inclusive for all ages and abilities. The younger children predominantly fill their box with 2D Grant, Claudia Tory, Rory Kelly images and the ‘older’ children (adults) are prone to complicated 3D structures with moving parts. Families participated together, teenagers were competitive, and octogenarian visitors Artform Participatory Installation marvelled at all the creations.

Marketing Tagline A participatory installation to engage the whole family. Marketing Selling Points Suitable for all ages and abilities.

Synopsis Imaginary Architecture has two components: an installation and an activity. The whole family can participate together.

The activity contributes towards the installation. Theres something to see and theres something to do.

The external view of the installation is of a cityscape built from cardboard boxes, complete with In the lead up to the work we can place a box collection robot in a prominent place for people aerials, twinkling city lights (hand cut into the boxes) and a circling helicopter. to feed their empty boxes to.

At the threshold of the installation there is a booth like reception where you will be welcomed, Clips www.laratumak.com/imaginaryarchitecture given instructions and a small illuminating device. Inside you seek out boxes with windows, shine your light above and peer inside. You are viewing the dioramas created by previous Marketing Materials https://www.dropbox.com/sh/gzj57tzjj90abpo/AADvanUp99GKK4o52CvYqjkoa?dl=0 participants. There is sure to be mythical, majestical and even mundane ones - their content is Promotional Images http://www.laratumak.com/theatre not prescribed. We have seen rockets, rainbows, an adoption centre and a mosque to name just a few. Community Engagement Imaginary Architecture is part-workshop, part installation. Both activities run simultaneously. Activities When you exit the installation you can head to the making tables - grab a box, or use the All are welcome. one youve brought from home and start making your own diorama to add to the installation. Content Warning No Examples of various levels of complexity are provided and an artist is available to assist with construction if you require. When you have completed your diorama you can add it to the city for future visitors to explore.

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/BUDGET AND FEES Transport Notes Dependent on the scale of the production.

Budget Category Tour Ready - production has completed a premiere season and is now seeking presenters to eg, 200 participants over a week = 1tonne van build a tour and source tour funding, if required. Remount Cost $ 0 2000 participants per day = 3 tonne truck

Weekly Fee $ 5000 Yes, the set can travel by plane.

Per-Performance Fee $ Industry Reference Ebony Bott | Arts Centre Melbourne | 03 9281 8767 | [email protected]

Royalties %

Describe your APRA /NOTES obligations if applicable

Budget notes Imaginary Architecture is a flexible work built to fit in your particular space. We will tailor the project to your needs. Please get in touch to request a quote. Single day events welcome to apply. As a guide: $5000/week for smaller version w/ approx. 200 participants per week $14,000/week for larger version of up to 2000 participants per day

/TECHNICAL INFORMATION

Technical Rating C, D (A, B, C, D,) as per NTS Format

Technical Links https://www.dropbox.com/sh/gzj57tzjj90abpo/AADvanUp99GKK4o52CvYqjkoa?dl=0

Theatre Formats Flexible

Bump‑in Time 8 Bump‑out Time 4

In‑Brief Lighting Lighting desk with submasters and cue stack functionality. Requirements Optional: white cyc, LED Battens, wide angle profiles.

In-Brief Audio Requirements Supplied by artist.

In-Brief Staging The work is free standing. It can be installed directly to hard floor or carpet as required. The Requirements height and footprint can be determined by your site. Describe your set and construction. How does it sit on stage? Is a fly Access to power is required. system required? Any technical warnings? Do you require an Ideally the space can darken. orchestra pit? Piano? Smoke/

strobe machine etc? Trestle tables required for making.

Materials for making can be collected before the event with a strategically placed donations box and participants can be encouraged to bring one from home - for eg, a teabag box, cereal, biscuit etc.

Stage Dimensions MIN. STAGE WIDTH MIN. STAGE DEPTH MIN. STAGE HEIGHT MIN. WING SPACE (metres) (metres) (metres) (metres) 0 0 0 0

Venue Crew Requirements LIGHTING CREW SOUND CREW STAGE CREW TOTAL VENUE CREW (hours) (hours) (hours) (hours) 0 0 0 0

Crew Notes The work will be installed and maintained by the artist.

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TRASH TEST DUMMIES Availability 03/01/2018 - 31/12/2018 Duration of show in minutes 60 TRASH TEST DUMMIES Not including interval

Does the show have an No interval, and if so, how long?

Performance and 2016/2015, Underbelly’s Circus Hub, Edinburgh Fringe, 23/22 shows Touring History 2016, Spiegeltent, Underbelly’s ‘Wonderground Festival’ 10 shows, London 2016, Halls/gyms, theatres, ‘Shows On The Go’, 21 shows WA 2016, The Herald Theatre, ‘Auckland Live’, 8 shows New Zealand 2016, Drum Theatre, 4 shows, Dandenong Vic Contact Person Jamie Bretman 2016/2015 Carona Theatre, Garden of Unearthly Delights, Adelaide Fringe, 23/22 shows 2016, Festival 4 Kids, Warrnambool 4 shows, Vic Email [email protected] 2016 Sydney Town Hall, Comedy Festival, NSW Contact Phone 0413 411 938 2016, Gold Coast Performing Arts Centre, 4 shows, QLD 2015, Woodford Folk Festival, 6 shows, QLD Organisation Website trashtestdummies.com 2015, Shanghai ICF, 4 shows 2015, Chapel off Chapel, Roola Boola Kids festival, 4 shows State VIC 2015, Bahrain International Circuit, 4 shows, Bahrain History and Background Founded by Jamie Bretman, Jack Coleman & Simon Wright in 2012, the Trash Test Dummies 2015, Kington Arts Centre, 2 shows, Vic are a family-friendly comedy circus company passionate about delivering innovative physical Number of People in 4 theatre works that integrate jaw-dropping skills, energetic audience interaction and comedic Touring Party character-led storytelling. Touring Personnel Jamie Bretman | Performer | Yes These three cheeky Dummies delight in taking their audience on an excursion into their playful imagination, re-purposing everyday objects in profound and hilarious ways. As performers they Simon Wright | Performer | Yes aim to inspire young people through their show by encouraging imaginative play, creativity & Jack Coleman | Performer | Yes laughter. Ben Turner | Sound and Light technician | Yes Written by Jamie Bretman, Jack Coleman, Simon Wright

Directed by Derek Ives, Clare Bartholomew, Liz Skitch /MARKETING AND COMMUNITY ENGAGEMENT Creative Team Jamie Bretman - Circus Performer, Simon Wright - Circus Performer, Jack Coleman - Circus Performer Key Audience and The show is targeted at primary-aged school kids and their families, however it is accessible Marketing Notes and enjoyable for audiences of all ages and has been often likened to a Pixar film where there Artform Family is comedic value for the adults as well. As it is non-verbal show everyone can understand the Marketing Tagline A family-friendly comedy circus show that delivers side-splitting laughs show including those who are hearing impaired or are not native English speakers.

Synopsis The initial characters for Trash Test Dummies began when the performers were cast in a 3rd Both kids and families come away from shows feeling elated, having taken in a show together year NICA (National Institute of Circus Arts) show in 2012. As graduates they began developing which speaks to young and old souls alike. It’s wholesome, family-bonding entertainment the concept for the Adelaide Fringe Festival. The success of the show rapidly snowballed, punctuated by belly-aching laughs. winning the best Childrens presentation in 2015 and 2016 at Adelaide Fringe. This led to national and international touring of the show. Marketing Selling Points Trash Test Dummies is an internationally renowned, multi-award winning show, selling out seasons both nationally and internationally. Encompassing world-class circus skills the show The 60-minute performance showcases a stunning array of jaw-dropping acrobatics, juggling appeals to audiences of all ages and has no spoken language. and stunt work, however it is the rich character development and audience participation that endears this show to kids, parents and grandparents alike. The show also features Simon Wright who plays ‘Zap’ in the ABC children’s show ‘Hoopla Doopla’. The theme of the show is friendship, embodied in the character-led storytelling of three clumsy Clips https://www.youtube.com/watch?v=0MSVfbEs328 garbologists who get into mischief (and sometimes trouble) but always help each other out with hilarious results. https://www.youtube.com/watch?v=uKX13FlnVKw&t=2s

Nominees of the 2015 Perth Fringe World Circus Award, and winners of the Gasworks Circus https://vimeo.com/136494647 Showdown 2014, the Trash Test Dummies is a family-friendly, circus comedy show like no other. Marketing Materials www.trashtestdummies.com “Dungereed Dummies from down under create an adventure playground out of dustbins.” The Herald Scotland. https://www.facebook.com/Trash-Test-Dummies-461633053952741/

Short Review “They are able to perform an inexhaustible number of tricks with the mundane wheelie bin, https://www.dropbox.com/sh/v5w16vz1w1ioxyt/AAAUG6kerVUhc_5qqqw8hNgda?dl=0 much to the delight of the crowd. Add some juggling, classic clowning, lots of coloured balls, music and drumming to the mix and its clear to see why the audience love it so much.” https://www.instagram.com/trash_test_dummies/?hl=en

Edinburgh Festival For Kids, 2016 Promotional Images https://www.dropbox.com/sh/9rek089ticbmffw/AADH4KYzNTpUL_ib3x6J7sy8a?dl=0

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Community Engagement 1 hour Circus workshop - Children 5 + up to 30 participants In-Brief Staging Activities Requirements 3 x 240L wheelie bins -This inclusive workshops increases self-esteem and exposes participants to a new and fun art Describe your set and construction. form. How does it sit on stage? Is a fly 3 X 80L garbage bags system required? Any technical - Includes warm-up games followed by a circus skills circuit including Hula hooping, Plate warnings? Do you require an orchestra pit? Piano? Smoke/ 1 X ladder spinning, Juggling, Balancing and Human Pyramids. strobe machine etc?

1 hour Clown and physical theatre workshop - 5+ up to 30 participants Stage Dimensions MIN. STAGE WIDTH MIN. STAGE DEPTH MIN. STAGE HEIGHT MIN. WING SPACE (metres) (metres) (metres) (metres) - This workshop will cover basic stagecraft, encourage participants to have fun on stage, increase their confidence and embrace the fun. 7 5 4 2 Venue Crew Requirements LIGHTING CREW SOUND CREW STAGE CREW TOTAL VENUE CREW - It includes a warm-up, clown games and participant demonstration. (hours) (hours) (hours) (hours) Content Warning No 7 0 0 7

Crew Notes

/BUDGET AND FEES Transport Notes 1 tonne van and 7 seater people mover

Budget Category Tour Ready - production has completed a premiere season and is now seeking presenters to Industry Reference Marisa Cesario | Gasworks Arts Park | 03 8606 420 | [email protected] build a tour and source tour funding, if required.

Remount Cost $ 4000 /NOTES Weekly Fee $ 8678

Per-Performance Fee $

Royalties % 8

Describe your APRA obligations if applicable

Budget notes All costs are +GST

/TECHNICAL INFORMATION

Technical Rating D (A, B, C, D,) as per NTS Format

Technical Links https://www.dropbox.com/home/Technical%20Rider

Theatre Formats Preferred Black box but can adapt to any format.

Bump‑in Time 4 Bump‑out Time 1

In‑Brief Lighting 10x Par 64 LED Requirements 6x Fresnel

4x Profile

6x Par 56

24 Dimmer channels

3x Moving lights

In-Brief Audio Requirements 4 channel analog sound desk

Auxiliary input required for Audio playback

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ROGUE ROMANTIC Short Review “Anya Anastasia is a major MAJOR talent”” - Stage Whispers EdFringeReview UK ANYA ANASTASIA The Herald Scotland.

“From husky cabaret to operatic soprano, it is a perfect blend of tongue-in-cheek, satire, and sentiment” - The Plus Ones

“Anya Anastasia proves that she is a force to be reckoned with” Broadway Baby UK.

Availability 06/09/2017 - 31/12/2019

Contact Person Anya Anastasia McNicol-Windram Duration of show in minutes 60 Not including interval Email [email protected] Does the show have an No Contact Phone 0412 160 811 interval, and if so, how long?

Organisation Website anyaanastasia.com Performance and Chapel off Chapel- Melbourne Cabaret Festival (3 nights as development season) 2016 State VIC Touring History Adelaide Fringe (20 shows) at Royal Croquet Club in 250 seat venue 2017 History and Background I am building a reputation as an independent touring company following the success nationally and Internationally of Torte e Mort, I am back with a new show. I’m excited to be presenting Melba Spiegeltent April (5 shows) 2017 Torte e Mort this year with RAV, and regional touring is a key part of my company’s mission statement. I am performing also this year at Whyalla, and Mount Gambier in South Australia. Edinburgh Fringe (TBC) 2017 August Touring is important to help get our voices, as female artists making comment on a changing society heard,. I am proud to present work that is all original, and performed by an all-female London Wonderground (TBC) 2017 July cast. Number of People in 5 Written by Anya Astasia Touring Party

Directed by Wes Snelling Touring Personnel Anya Anastasia | Singer | Yes

Creative Team Wes Snelling- Director, Clare Bartholomew - Dramaturgy, Musical Direction - Lucian McGuiness, Bec Matthews |Drummer | Yes Lighting Design- Michelle Thorne, drummer- Bec Matthews, Keyboards- Laurie Black, vocals- Jonny Duncan | Tech | TBC Anya Anastasia, Bass- Annie Siegman Annie Siegman | Bass player | Yes Artform Cabaret Laurie Black | Keys player | TBC Marketing Tagline Serenades of a delinquent Diva! Cabaret Femme Fatale backed by a star-studded all-female band

Synopsis “You’re my one true love.... For now” -(lyrics from show) /MARKETING AND COMMUNITY ENGAGEMENT

Feisty, feminist, fierce - multi-award winning internationally acclaimed cabaret femme fatale Key Audience and Audiences for Rogue Romantic are primarily theatre goers keen to extend their palette and Anya Anastasia - has gone ROGUE! Marketing Notes older and younger audiences interested in music, comedy and cabaret.

Armed with a biting wit, fuelled by a lust for revenge and backed up by her new kick-ass full There is strong audience demand in regional and remote Australian communities for highly band - featuring Bec Matthews (percussion) Annie Siegmann (Bass) Laurie Black (keys) - entertaining cabaret. Rogue Romantic supplies an enticing blend of entertainment, excellence, Anastasias Rogue Romantic is an seductive and exhilarating night of music, theatre and fun. story, audience-appeal and social commentary that is difficult to find in such an easily tourable A night filled electrifying twists, hilarious physical comedy, intense audience interaction and package. non-stop laugh out loud moments. Audiences will experience the thrill of this extravagant Marketing Selling Points Strong imagery, production photography, excellent reviews, video footage and strong social glamorous and off-kilter diva right in their very laps (literally)! media pulls are available as part of the selloff fee.

Channelling Yma Sumac and Shirley Bassey, Anastasias vocals range from husky cabaret to The show is original, innovative and highly entertaining. operatic soprano, to the delight of cabaret, live music and theatre lovers. Rogue Romantic

follows hot n the heels of the smash hit 2016 Edinburgh Fringe season of with Anyas previous Rogue Romantic not only has an all original soundtrack created by contemporary Australian show ‘Torte e Mort: Songs of Cake and Death. Now we can bare witness to this multitalented artist, but pushes the boundaries of the genre with high volumes of audience interaction, Adelaide born artist smash the stage with a star-studded band and all new original songs. clowning, and clever stagecraft that means the story unfolds in a unique and engaging manner.

Clips Excerpt: https://vimeo.com/180311944

Teaser: https://youtu.be/eluceWJ_6U4

NOTE: new promo video of exceptional quality being made during Adelaide Fringe season, and full video coming.

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Marketing Materials PRESS RELEASE: https://drive.google.com/file/d/0BwyIRqRIhok3b2dBdDVrTU5vSG8/ In-Brief Audio Requirements Rogue Romantic requires a quality sound reinforcement system appropriate to the venue size. view?usp=sharing The system should be full range with subs and a mixing position in the auditorium. The audio console should have at least 16 input channels and 4 auxiliary sends. ARTIST BIOS: https://drive.google.com/file/d/0B7_SmNJLB881amhHT2c1N0ZYWE0/ view?usp=sharing Venue to Provide

Poster template: https://www.dropbox.com/s/7y6fvbrfyffb18f/rogue_poster.jpg?dl=0 - 1 x baby grand piano (Negotiable - Rogue Romantic can be performed with an 88 key weighted electric piano which can be toured by the company) Social media Page: https://www.facebook.com/anyaanastasiaartist - 3 x vocal microphones with boom stands (Beta 58 or similar) - 2 x foldback wedges Promotional Images https://drive.google.com/open?id=0BwyIRqRIhok3ekVBajk4NFdRSDA - Stereo DI for keyboard - Stereo DI for sample pad Community Engagement Yes, singing , song-writing, and producing masterclasses. - DI and/or microphone for Bass amp Activities - 2 x overhead drum microphones Ukulele workshops also available - 1 x kick drum microphone Content Warning Yes. Mild course language, frequent sexual references. - Reverb and delay effects unit

playback capability for Qlab on laptop /BUDGET AND FEES PRODUCER SUPPLIES SOUND- Wireless head set microphone and receiver - Wireless belt pack transmitter and receiver for ukulele - Laptop with Qlab show file loaded - All instruments. Budget Category Tour Ready - production has completed a premiere season and is now seeking presenters to build a tour and source tour funding, if required. In-Brief Staging MIN. STAGE WIDTH5.6 metres Requirements Remount Cost $ 10801 Describe your set and construction. MIN. STAGE DEPTH3.5 metres Weekly Fee $ 9612 How does it sit on stage? Is a fly system required? Any technical SETThe production is a cabaret style presentation centred around the performers who are Per-Performance Fee $ warnings? Do you require an elaborately costumed and involves very few set pieces and props. Ideally the venue can provide orchestra pit? Piano? Smoke/ a grand piano and star cloth which perfectly frame the band. strobe machine etc? Royalties % 5 FLY SYSTEM REQUIRED?No Describe your APRA

obligations if applicable EFFECTS REQUIREMENTShaze Budget notes N/A INSTRUMENTS REQUIREDyes

/TECHNICAL INFORMATION PRODUCER SUPPLIES INSTRUMENTSyes

WARDROBE REQUIREMENTSmirrors, lights, hanging rack Technical Rating A (A, B, C, D,) as per NTS Format Stage Dimensions MIN. STAGE WIDTH MIN. STAGE DEPTH MIN. STAGE HEIGHT MIN. WING SPACE (metres) (metres) (metres) (metres) Technical Links https://drive.google.com/a/anyaanastasia.com/file/d/0B7_SmNJLB881MGozYjhpLUNXXzg/ view?usp=sharing 5.6 3.5 0.5 0

Theatre Formats Proscenium Arch,Black Box,Thrust,Band Room Cabaret Venue Crew Requirements LIGHTING CREW SOUND CREW STAGE CREW TOTAL VENUE CREW (hours) (hours) (hours) (hours) Bump‑in Time 4 Bump‑out Time 2 1 0 0 1 In‑Brief Lighting Rogue Romantic has simple lighting requirements that can be made to work with most in-house Requirements systems. Crew Notes Fixtures and Programming Transport Notes set / production can travel by plane if venue supplies drum and bass backline. - Colour stage wash OR star cloth - Coloured front wash Industry Reference Louise Clarke | Royal Croquet Club | 0404 834 589 | [email protected] - Open white performance stage wash - 3 x zoom profiles for performance specials The show also requires a Follow Spot and Follow spot operator or dimmable house lights, /NOTES alternatives by negotiation

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Performance and *presented by Sun Rising. SUN RISING, THE SONGS Touring History *Mandurah PAC, 2013/2014 and 2015. THAT MADE MEMPHIS *Capitol Theatre, Bendigo 2013. SUN RISING, THE SONGS THAT MADE *Thornbury Theatre, 2015, 2016 MEMPHIS. *Kew Courthouse, 2016

*Castlemaine Gaol, 2016.

Contact Person Damon Smith Don Russell PAC, 2016 (2017)

Email [email protected] Camperdown Cruise 2013/2014 Contact Phone 0417 996 095 Adelaide Cabaret Festival 2015. 3 shows at the Star Theatre. Organisation Website sunrisingaustralia.com QLD Cabaret Festival 2016. 2 Shows at the Powerhouse Theatre. State VIC Adelaide Fringe Festival 2017. 3 shows at the Dunstan Theatre. History and Background Sun Rising was a dream gig for local musicians, Damon Smith and David Cosma. Both obsessed with the legacy of the famed, Sun Records in Memphis, they set out to create a show that took Number of People in 5 the audience through a guided tour of Sun Records with a focus on Sun’s creator, Sam Philips. Touring Party Now, 4 years into their dream, this critically acclaimed show has amassed a national fan base and has sold out theatres across Australia. Considering, every component of the show has been Touring Personnel David Cosma | Performer / Writer | Yes. handled by its two creators up until now, it seems extending our team, budgets and the scope Adrian Whyte | Performer | Yes. of the show is the natural next step. Trent Mckenzie | Performer | Yes. Written by Damon Smith and David Cosma. Adam Coad | Performer | Yes. Directed by Damon Smith and David Cosma

Creative Team David Cosma:Writer/Narrator/Performer, Damon Smith: Writer/Performer, Adrian Whyte: Performer, Adam Coad: Performer, Trent Mckenzie: Performer. /MARKETING AND COMMUNITY ENGAGEMENT

Artform Music Theatre Key Audience and Fans of 50’s Rock and Roll. Marketing Notes Marketing Tagline A critically acclaimed and spectacular theatre show that tells the incredible story of Sun Car Clubs. Records. Synopsis Elvis, Johnny Cash, Jerry Lee Lewis, Carl Perkins, Roy Orbison, Rufus Thomas Jnr, Howlin’ Wolf Rock and Roll Dancing Clubs. and many more... all had one thing in common. They all launched their careers at the famous Sun Record Company in Memphis. Elvis Fans. Johny Cash Fans. Jerry Lee

You’re promised an unforgettable night as ‘Sun Rising- The Songs That Made Memphis’, Lewis Fans and so on. brilliantly relive the amazing music and classic stories of Suns early years. Paying homage to both the artists and Suns owner/producer, Sam Phillips, this critically acclaimed show has been “Baby Boomers”. selling out across the country leaving audiences yelling for more! Retro and nostalgia fans. This show is not to be missed so break out the brylcreem, whack on the dancing shoes, book now and discover “where rock n roll was born”. Music fans in general.

Short Review “The crowd was jubilant- moving, laughing, swing dancing and singing the entire show and one rather enthusiastic punter put it better than anyone as she screamed out in joy, THIS HAS BEEN THE BEST NIGHT EVER!”.

Tess Armstrong, ABC Radio.

Availability 01/06/2017 - 01/02/2019

Duration of show in minutes 100 Not including interval

Does the show have an Yes. 20 minutes. interval, and if so, how long?

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Marketing Selling Points Sun Rising has a video endorsement from the son of Sun Record’s founder, Sam Phillips. In-Brief Staging Requirements Sun Records artist roster includes some of the biggest and most popular names in pop culture. Describe your set and construction. Elvis/Roy Orbison/Johny Cash/Jerry Lee Lewis to name a few. How does it sit on stage? Is a fly Piano. system required? Any technical 2017 and 2018 are big years for Sun Records with a television series and Holywood movie warnings? Do you require an orchestra pit? Piano? Smoke/ coming out plus re-releases of music by some of Sun Records artists. strobe machine etc?

Sun Rising don’t ‘dress up’, wear wigs or do cheesy impersonations of artists. Stage Dimensions MIN. STAGE WIDTH MIN. STAGE DEPTH MIN. STAGE HEIGHT MIN. WING SPACE (metres) (metres) (metres) (metres) Sun Rising perform passionate and authentic renditions of songs and have been praised by their fans for doing so. 3 3 1 0

Clips https://youtu.be/8PUrRsfcPpI Venue Crew Requirements LIGHTING CREW SOUND CREW STAGE CREW TOTAL VENUE CREW (hours) (hours) (hours) (hours) https://youtu.be/hrZShkznJc4 3 5 5 13

Marketing Materials sunrisingaustralia.com Crew Notes

https://www.facebook.com/Sunrisingband Transport Notes 8 Seater.

Promotional Images http://www.sunrisingaustralia.com/slideshow Industry Reference Zac Tyler | Adelaide Festival Centre | 08 8216 8942 | [email protected]

Community Engagement Sun Rising’s members, in particular Adam Coad (Drums) Damon Smith (Piano) and Adrian Activities Whyte (Guitar) can offer workshops and tutorial sessions at festivals and the like. /NOTES Content Warning no

/BUDGET AND FEES

Budget Category Ready to Go - available for one-off performances, no remount required

Remount Cost $

Weekly Fee $

Per-Performance Fee $ 4500

Royalties %

Describe your APRA obligations if applicable

Budget notes

/TECHNICAL INFORMATION

Technical Rating D (A, B, C, D,) as per NTS Format

Technical Links

Theatre Formats Flat floor

Bump‑in Time 2 Bump‑out Time 1

In‑Brief Lighting Lighting req are minimal. Ambient lighting and possible spot lights (for three across front of Requirements stage) would be great

In-Brief Audio Requirements 5 vocal mics/piano mic/Guitar amp mic/2 x di/drums to be mic’d. 7 inputs from the desk max.

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Duration of show in minutes WATER BY MICHAEL 90 Not including interval

JOHNSON Does the show have an Yes. 15 minutes. interval, and if so, how long? MICHAEL JOHNSON Performance and Melbourne Recital Centre 2016 , Benalla Art Gallery 2016, Warrandyte Theatre Hall 2016 (Feb, Touring History April,Aug), Warracknabeal Arts council 2016. Villa Alba Historic homestead 2016, Melba Hall (Melbourne Conservatorium of Music). Mueller hall, The Royal Botanic Gardens Melbourne 2016. Some of these concerts were cut down concerts ie two or three musicians depending on venue budgets.

Number of People in 5 Contact Person Michael Johnson Touring Party

Email [email protected] Touring Personnel Michael Johnson | Harp, Piano, Guitar and MC | yes Contact Phone 0407 302 771 David Jones | Drums and percussion | yes

Organisation Website michaeljohnson.com.au Evripides Evripidou | Bass and Guitar | yes

State VIC Matthew Arnold | Viola and Violin | yes

History and Background Michael Johnson has been composing, performing and touring for over thirty-five years as a Kevin Jones | Sound and visuals | yes harpist and composer.

Michael’s music regularly appears on national television and radio. /MARKETING AND COMMUNITY ENGAGEMENT

His music is mainly inspired by things in the natural world and reflects his passion for protecting Key Audience and This show is aimed at all age groups who like instrumental music and feel a connection to the our delicate environment...and the best way to do this is through the universal language of Marketing Notes natural world or who would like to be. For lovers of fine instrumental music. music. Touring is a way of reaching and connecting to many people who don’t have access to these kinds of cultural activities. It was presented to audiences from school aged children to people in their 80s. In all concerts equally well received. Written by Michael Johnson Comments from the guest book page on Michael’s website will testify to this. Directed by Michael Johnson http://michaeljohnson.com.au/guest.php

Creative Team Michael Johnson-harp, guitar and piano, David Jones-drums, Evripides Evripidou-bass and Marketing Selling Points The harp is always popular as an instrument at concerts. guitar, Matthew Arnold-violin and viola It is also an opportunity to witness an uncommon blend of musical instruments performed by masters in their field in an up-close and personal style concert. The musicians are all well known Artform Live Music in their various fields...David Jones (John Farnham band, Hey hey its Saturday, James Morrison Marketing Tagline “A celebration of the natural world...Its spirit and beauty...through the music of the harp.” band. Evripides Evripidou- James Morrison band, On the Verge, Matthew Arnold- Tim Finn band

Synopsis Water is an intimate concert of uplifting musical textures and rhythms from four of Australia’s Clips https://vimeo.com/174770300 finest instrumentalist. https://youtu.be/XaCSbzQPmGE Featuring compositions by Michael Johnson, Resident composer and harpist from the Royal Botanic Gardens Melbourne. https://youtu.be/yOvUH5v-PAY”

http://www.michaeljohnson.com.au/ Michael is joined by percussionist and drummer, David Jones. With Evrpides Evrpidou on bass Marketing Materials

and guitar and Matthew Arnold on viola and violin. http://www.michaeljohnson.com.au/gallery.php”

With compositions drawing stretching the technical boundaries of their instruments, while Promotional Images http://www.michaeljohnson.com.au/pics/light%20quartet%20normal.jpg leaving the audience with a meditative feeling of peace and tranquillity..... A feeling that is so present in the natural world. Community Engagement We can offer workshops. Instrumental workshops. Schools performances are available Activities The music is interwoven with brief anecdotes of how the compositions came to life, while living and composing in a beautiful garden Content Warning no

Short Review “This music is so deeply moving and ethereal in its beauty..Johnson contributes equal parts in musicality, spirituality and humanity to these works, leaving listeners totally transfixed.”

Owen McKern. Station manager 3PBS Melbourne

Availability 01/02/2018 - 01/08/2018

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/BUDGET AND FEES /NOTES

Budget Category Ready to Go - available for one-off performances, no remount required

Remount Cost $

Weekly Fee $

Per-Performance Fee $ 2850

Royalties % None required if venue is APRA licensed. Otherwise 1.3 % of gross ticket sales. ie if tickets are $25 and 100 in the audience the APRA fee would be $32.50.

Describe your APRA Just the Live performance fees above obligations if applicable

Budget notes Fees are of course negotiable for smaller venues. Concerts can be cut down.

/TECHNICAL INFORMATION

Technical Rating D (A, B, C, D,) as per NTS Format

Technical Links

Theatre Formats Flat floor, no risers

Bump‑in Time 3 Bump‑out Time 2

In‑Brief Lighting Pastel colours. back stage. down light for position for four musicians in a row with MC position Requirements front middle

In-Brief Audio Requirements Drum kit-8 drum mics and stands, Violin-1 x boomstands mics 1 x D.I. , Bass and guitar - 2 x D.I., Harp - 2 x D.I.s 2 x low floor stands and condensors mics, If grand piano is available 2 x condensor mics and stands

In-Brief Staging Requirements Describe your set and construction. How does it sit on stage? Is a fly Piano if available (can do without). Fold back for 5 positions drums, bass, violin, harp and piano.. system required? Any technical warnings? Do you require an orchestra pit? Piano? Smoke/ strobe machine etc?

Stage Dimensions MIN. STAGE WIDTH MIN. STAGE DEPTH MIN. STAGE HEIGHT MIN. WING SPACE (metres) (metres) (metres) (metres) 8 4 2 3

Venue Crew Requirements LIGHTING CREW SOUND CREW STAGE CREW TOTAL VENUE CREW (hours) (hours) (hours) (hours) 4 4 8

Crew Notes No crew is required for smaller venues and we can provide sound equipment

Transport Notes No plane. three vehicles in total

Industry Reference Michael Johnson | Melbourne Recital Centre: Kerstin Schulenburg | 03 92072600 | [email protected]

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Email [email protected]

Contact Phone 0401 780 707 /MARKETING AND COMMUNITY ENGAGEMENT

Organisation Website johnflemingcreative.com Key Audience and This work will appeal to a wide range of people: State VIC Marketing Notes 1. fans of James Taylor and this genre of music, people who grew up with he music of these History and Background As part of comedy-music duo Scared Weird Little Guys I toured extensively through Australia, artists (now in their 60s and 70s), North America and the UK performing in every type of venue and audience. I won awards in the US, Canada and Australia including an ARIA in 2004. I am a consummate musician and live 2. those who have come across this music and found it significant since its release. Focussing on performer with subsequent experience in workshop facilitation, education and festival co- all the artists in the show (Simon, Mitchell, King and Taylor), ordination. I am a skilled media performer for TV, radio and print media including social media and online marketing. John Fleming Creative is my umbrella organisation. 3. those who appreciate good songwriting and well performed music and

Written by John Fleming 4. fans of Scared Weird Little Guys which enjoyed a big following all over Australia.

Directed by Judith Chaplin Marketing Selling Points 1. People know many of these famous songs, but what were the circumstances behind the songs that defined a generation. Creative Team John Fleming: Writer/Narrator/Singer/Musician, Lisa Hanley: Narrator/Singer/Musician, Doug

Robertson: Musician, Gavin Gray: Musician, Steve Rando: Musician, Bruce Haymes: Musician, 2. the political and social pressures on an artist are the same today as they were then. The story Lloyd Barrett: Technician (sound) of how a successful artist navigated those areas and succeeded. Artform Cabaret 3. Everyone has problems, destructive behaviours and issues to overcome. This inspiring story Marketing Tagline The stories and songs of a genius songwriter. lights the way to hope and clarity.

Synopsis In 1967 James Taylor was discharged from the psychiatric hospital where he spent his late 4. See John from the Scaredies in a brand new and very different role. teens. As he continued to struggle with illness and addiction, his talent led him on a journey from New York where he formed his first band, to London where he recorded with the Beatles, Clips https://www.youtube.com/watch?v=LHb_ZkT_-go Los Angeles where he became part of the politically charged songwriters movement and back https://www.youtube.com/watch?v=LHb_ZkT_-go to his beloved Marthas Vineyard where his first two children were born. Taylors ascent to success and fame, along with his struggles with drugs and self-doubt, took him to the edge of https://www.youtube.com/watch?v=5w3MoMaiQiY his sanity. By the end of 1976 it could have all been over, however his resilience and sense of purpose led him to overcome his difficulties and emerge as one of the worlds great songwriters, http://www.johnflemingcreative.com/jt-marketing-material.html distilling the emotions of a generation into music. Featuring the iconic music of James Taylor, Carole King, Carly Simon and Joni Mitchell. Please find here:

Note: There is a reduced version of the show also available which features John Fleming and Press Release (word format), John Fleming Short Bio (word format), Q and A with John Lisa Hanley. This show is slightly shorter, without the full band and comes at a reduced cost. Fleming, Poster Image, Other publicity images, Poster Template (Illustrator CS3 format), Production Website Facebook Page and reviews. Short Review “An honest personal journey through Taylors life, woven with his beautifully constructed and lyrically potent songs, performed with passion and precision by Fleming and his talented group. Marketing Materials http://www.johnflemingcreative.com/jt-images.html A must see for theatre goers and music fans.” Anna-Maria Megalogenis, What’s my Scene.com Promotional Images Availability 01/05/2017 - 30/11/2018 Community Engagement 1. workshops in songwriting, arranging and harmony singing. This would suit people who have Duration of show in minutes Activities an interest in music generally, but specifically in writing and producing music themselves. This 90 could be offered to a school audience, an adult audience or families. Not including interval 2. I can run a choral workshop getting a group of people to sing in harmony and discover the Does the show have an Yes. 20 minutes. joys of singing together. Once again a range of ages is possible here. interval, and if so, how long? 3. I could also host a singing technique session or masterclass as well as a Q and A session Performance and The show was presented in November 2015 at Chapel off Chapel in Melbourne. There were 4 about my career or even the life of James Taylor. Touring History shows in a very short premiere season. The show was produced by John Fleming Creative.

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Content Warning Yes. Some reference to drug use Venue Crew Requirements TOTAL VENUE LIGHTING CREW SOUND CREW STAGE CREW CREW (hours) (hours) (hours) (hours) 1 1 1 /BUDGET AND FEES 2

Budget Category Ready to Go - available for one-off performances, no remount required Crew Notes We will supply at least our own sound operator however a stage manager/staging operator and a lighting operator will be required. Please contact me to confirm that requirement. Remount Cost $ Stage manager/operator required for bump in, rehearsal and performance (approx 5.5 hours: Weekly Fee $ bump in 2.5 hours, rehearsal 1 hour, (break), performance 2 hours) Per-Performance Fee $ 4000-3000 Lighting operator required for rehearsal and performance (approx 3 hours: rehearsal 1 hour, Royalties % 1.5% Box Office royalty payable to APRA for the use of the songs 2% royalty on Box Office (break), performance 2 hours). payable to the creator of the show, John Fleming Creative. Transport Notes Transport will be for performers and their instruments which includes Describe your APRA As the music in the show is entirely covers the standard fee for a music performance is payable, obligations if applicable which I believe is 1.5% of box office gross. 7 x people

Budget notes The show is available as a full band production (7 people touring) or a reduced show which is 5 x guitars flexible in cast and offers a reduced budget. Please enquire for more information. 2 x amps

/TECHNICAL INFORMATION 1 x drum kit

Technical Rating 1 x keyboard C (A, B, C, D,) as per NTS Format 7 x personal luggage Technical Links http://www.johnflemingcreative.com/jt-technical-information.html An extra large van or Theatre Formats Proscenium Arch, Black Box, Flat Floor, Hall, Thrust, Gym, just about anything of the right size (stage space required approx. 7m wide x 4m deep) van and station wagon or Bump‑in Time 3 Bump‑out Time 2 van and trailer should accommodate this gear, it is possible that the show could travel by plane however we would then need to source backline (amps, drums, keys) at the destination. In‑Brief Lighting Requirements Preferably a 15 area plot with 4 specials (DSR, DSC, DSL, MSR. See the lighting plot for more information. A bright front wash (with some warm and cool colour flexibility) and three colour Industry Reference Ibrahim Mustafa | Chapel off Chapel | 03 9533 8517 | [email protected] back wash (strong blue, strong amber, mid green). Any less complex lighting rig is fine, lighting cues will be modified accordingly. The show can be performed with minimal lighting. /NOTES

In-Brief Audio Requirements 5 x Vocal Mics (on boom stands) 1 x Amp Mic 3 x DIs if an acoustic piano is available, 5 x DIs if not 2 x Piano mics (if acoustic piano is available) 5 x Drum mics (kick, snare, toms, 2 x overheads) 6 x monitors (on separate sends, or as many monitors/sends as are available up to 6) stage power outlets (MSC) At least a 16 channel mixing desk (24 to be safe) positioned in the audience area for effective monitoring of sound levels. Front of House speakers adequate to supply clear sound to all areas of the audience.”

In-Brief Staging Requirements Flat floor, obstruction free. If an acoustic grand piano is available that is to be set MSR with the Describe your set and construction. How does it sit on stage? Is a fly keyboard facing off stage (refer to the stage plan in the technical links). Stage power at MSC. system required? Any technical No flys required, nothing out of the standard spec, no pit. warnings? Do you require an orchestra pit? Piano? Smoke/strobe A hazer would be great if available. machine etc?

Stage Dimensions MIN. STAGE WIDTH MIN. STAGE DEPTH MIN. STAGE HEIGHT MIN. WING SPACE (metres) (metres) (metres) (metres) 7 5 3 1

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Performance and Fringeworld, Perth Town Hall, 2017 27-31 Jan 2017 BARRY MORGAN IS Touring History Mandurah Performing Arts Centre, 2017 1-5 Feb 2017 OUT OF THIS WORLD Adelaide Fringe 2-14 March 2017 LIBLAB MUSIC MICF 11-23 Apr 2017

Number of People in 2 Touring Party

Touring Personnel Stephen Teakle | Artist | Yes

Contact Person Lucy Eames Eileen McDonald Sparks | Production Manager | TBC

Email [email protected]

Contact Phone 0429 699 247 /MARKETING AND COMMUNITY ENGAGEMENT

Organisation Website mrbarrymorgan.com Key Audience and Barry Morgan appeals to all ages, but his main demographic is aged 30-50 years in suburban Marketing Notes and rural areas. State VIC

History and Background Liblab Music has been producing live performances and touring for comedy character Barry - audiences with an interest in nostalgia, retro Morgan for the past 7 years. - young or contemporary crowd who are lovers of 70’s music and fashion Written by Stephen Teakle and Fio Scott-Norman - young audience who are into beats, groove based music Directed by Fiona Scott-Noman Creative Team Stephen Teakle - Artist - appeal to older crowd and who have lived through the home organs heyday in 70’s

Artform Music Comedy Marketing Selling Points Barry creates a sense of community by bringing together people from different demographics. He also brings audience members up on stage as well as celebrated local characters, musicians Marketing Tagline Barry Morgan will have you dancing among the stars as he takes you out of this world or sportspersons for an interview or song.

Synopsis Barry Morgan may be the ultimate home organ salesman, and owner of the World of Organs * Barry captures hearts through his endearing and innocent nature reminiscent of a bygone era, store in the beautiful Sunnyside Mall in Adelaide, but this year he has new planets to conquer. spreading of joy and pro musical talent Youll dance among the stars as Barry takes you out of this world. Whats not to love about outer space? The fabrics are artificial, the food is artificial, the music * Culturally the show celebrates many aspects of society like food, fashion and music. is artificial. And in space, theres no wind to mess up your hair! Let Barry take you where no Clips https://www.youtube.com/watch?v=SvhURCsrQMs organ has gone before, and play you the cosmic hits from Star Wars to Space Invaders and beyond! Performed by musician and comedian Stephen Teakle, Barry Morgan rose to fame after https://www.youtube.com/watch?v=oHRxk5ab5LQ performing on ABCs Spicks and Specks where he became an instant audience favourite. Barrys gone on to grace our screens on shows such as Gordon Street Tonight, The Marngrook Footy Marketing Materials https://www.dropbox.com/sh/e5bokvrgyntdq5z/AADdgMwZocP-Vgsoz6ZhAN4Oa?dl=0 Show and ABCs New Years Eve Pub Quiz; as well as becoming a favourite guest on radio. http://mrbarrymorgan.com/ Barry has sold out live shows Australia wide including Melbourne Comedy Festival, Sydney

Comedy Festival, Melbourne, Adelaide and Fringe World Festival, the famous Spiegeltent; and https://www.facebook.com/mrbarrymorgan/ even travelled his show overseas to the NZ Comedy Festival and Edinburgh Fringe.

Short Review “YOU’D have to have a heart of stone not to love a well-coiffed, safari-suited organist https://www.instagram.com/mrbarrymorgan/ extraordinaire****”. https://www.mrbarrymorgan.com/epk/ Megan Miller, Herald Sun, Melbourne Promotional Images https://www.dropbox.com/sh/3rvj0vi1tmty2vh/AAClBecF7qxPT_eoyMPGCLmva?dl=0 Availability 01/05/2018 - 01/11/2018 Community Engagement Duration of show in minutes Activities 105 Not including interval Content Warning No Does the show have an Yes. 20 minutes. interval, and if so, how long?

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/BUDGET AND FEES In-Brief Staging Requirements Minimum stage size 5m x 2m, with steps off the stage into the audience (front centre). Budget Category Tour Ready - production has completed a premiere season and is now seeking presenters to Describe your set and construction. build a tour and source tour funding, if required. How does it sit on stage? Is a fly Barrys organ requires a flat surface with enough room for a Hammond Organ, Leslie system required? Any technical Remount Cost $ 3200 warnings? Do you require an orchestra pit? Piano? Smoke/ Speaker, foldback speaker and screen (see stage plot) Weekly Fee $ 10280 strobe machine etc?

Per-Performance Fee $ Stage Dimensions MIN. STAGE WIDTH MIN. STAGE DEPTH MIN. STAGE HEIGHT MIN. WING SPACE (metres) (metres) (metres) (metres) Royalties % 5 2 Describe your APRA obligations if applicable Venue Crew Requirements LIGHTING CREW SOUND CREW STAGE CREW TOTAL VENUE CREW (hours) (hours) (hours) (hours) Budget notes 4 7 11

Crew Notes No steps into venue or onto stage preferred. Any steps need to be advised and 2 crew available /TECHNICAL INFORMATION to lift. When organ needs to move to stage height a ramp is preferred minimum width 90cm. We carry a ramp as back up. In many cases only one venue crew can be supplied as our technician Technical Rating D can operate the sound. (A, B, C, D,) as per NTS Format Transport Notes Equipment best freighted by Long wheel base van (such as Renault) which can also Technical Links https://www.dropbox.com/sh/nxbbgnw4c29498h/AADiYE20-zIADPAd87SdwRKwa?dl=0 accommodate cast and crew

Theatre Formats Flexible to most theatre formats Industry Reference Tina Rettke | Geelong Performing Arts Centre | 03 5225 1231 | [email protected]

Bump‑in Time 3 Bump‑out Time 1

In‑Brief Lighting General FOH Stage Wash PLUS: /NOTES Requirements 2 x Specials (Leslie Speakers)

2 x Specials (key light on Barry)

1 x specials (overhead light on keys)

1 x “Disco” / chaser state (colours)

1 x Par 64 rigged on organ (bass pedals)

1 x Follow Spot (adjustable lens)

In-Brief Audio Requirements 1 x radio headset mic

1 x line to organ (has in-built DI box)

1 x Stereo DI (audio out for laptop)

4 x SM 57 Mics for Leslie Speaker Top left and right

2 x Bass Mic eg MD421/Beyer M88/D112

Quality PA system 400wt per channel with subs

1 x Foldback Wedge of 300wt

FOH minimum 16 channel mixing console with 2 aux sends

Stereo equaliser for FOH speakers

CD player for pre recorded voice over and pre-show music

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Performance and Festival Fatale 2016 1 Women in Theatre and Screen AUSTRALIAN BOOTY Touring History Red Bennies 2012 6 MICF BLACK HONEY COMPANY The Studio: Campbelltown Arts Centre 2012 2 Campbelltown Arts Centre

Visy Theatre 2012 12 Brisbane Powerhouse

The Spiegeltent 2012 2 Darwin Festival

Number of People in 3 Touring Party

Organisation Website blackhoneycompany.com

State VIC /MARKETING AND COMMUNITY ENGAGEMENT

History and Background A production house and cultural consultancy team, Black Honey Company was established by Key Audience and Australian Booty has particular appeal to: award-winning South African Australian sisters, Writer/ Performer Candy Bowers and Musical Marketing Notes Director/ Composer/ Sound-Designer Kim ‘Busty Beatz’ Bowers. The team has worked together Women and women of colour who will attend with their partners and friends. for over 13 years on projects across the Music, Arts and Entertainment industry in Australia and around the world. Younger audiences in particular music and hip-hop fans. Written by Written by Candy Bowers, Composed by Busty Beatz Theatre, cabaret and comedy audiences. Directed by Nelly Thomas Marketing Selling Points This production along with the two lead creatives Candy B and Busty Beats is an excellent Creative Team Written by Candy Bowers, Composed by Busty Beatz, Directed by Nelly Thomas, Designed by audience development and community engagement opportunity. Daniel Anderson Australian Booty casts a light on vital social issues within Australia in a fun and inclusive way. Artform Music Theatre This gives the production huge appeal to theatre-going audiences and the general public. Marketeers can draw on the exisiting fan-base of Candy and Busty and their online and media Marketing Tagline Australian Booty is a show about learning how to love yourself presence, the success of other productions such as Hot Brown Honey, the appeal of the shows themes and content and the instant appeal of the strong marketing images and copy. Synopsis Australian Booty is an entertaining mix of comedy, dance, fierce and hilarious hip-hop, critical analysis, soulful singing and of course BOOTY SHAKING! Clips https://youtu.be/9LKGdFl22Eg

From the sisters behind Hot Brown Honey (2016 Edinburgh Festival/ Total Theatre UK Award) https://youtu.be/aD7rFgs5C0o and Sista She, comes another genre-defying feminist power show about self love. Candy B is mouthy, poetically dexterous and deliciously dirty in her aptly named one-woman Marketing Materials https://drive.google.com/open?id=0B51vDiNR2JVOaXBYMGJ1ZlNWWk0 show Australian Booty. In a sumptuous hour of jokes, stories, music and spoken word this Promotional Images https://drive.google.com/open?id=0B51vDiNR2JVOaXBYMGJ1ZlNWWk0 radical babe weighs in on the Australian identity, interracial dating, Aussie TV and the booty myth. Community Engagement Candy will host Booty Dance sessions with locals who can perform during the finale. These need Activities not be professional or accomplished dancers and some may end up just dancing along from Set to a bitchin sound track created by the notorious Busty Beatz, these two fierce sisters will their seats. Candy and Kim are both accomplished educators and mentors. They can facilitate slam, shake and tickle you all the way to the dance floor. If you love hip hop, but hate misogyny, workshops with artists or interested groups within your community. We recommend a two love powerful women but cant understand why they doubt themselves (if you are one of those day minimum season with either the first or second day set aside for workshops or community women) or if you just wanna see more women of colour on stage, Australian Booty is for you. activity. WARNING- Side effects may include booty shaking and higher self esteem. Candy is a passionate advocate and is available for public presentations and discussions. Short Review “Attendance should be compulsory, as its impossible to leave without feeling damn hot and Content Warning YES. Australian Booty touches on adult themes and is best enjoyed by audiences over 18. wanting to shake your booty all over town.” Anne-Marie Peard aussietheatre.com

Availability 01/02/2018 - 01/07/2018

Duration of show in minutes 60 Not including interval

Does the show have an No interval, and if so, how long?

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/BUDGET AND FEES In-Brief Staging Requirements Budget Category Tour Ready - production has completed a premiere season and is now seeking presenters to Describe your set and construction. build a tour and source tour funding, if required. How does it sit on stage? Is a fly Australian Booty involves minimal set. The venue will provide tables for the DJ booth. The system required? Any technical company tours flowers to cover the stage. Remount Cost $ 9925 warnings? Do you require an orchestra pit? Piano? Smoke/ Weekly Fee $ 8675 strobe machine etc?

Per-Performance Fee $ Stage Dimensions MIN. STAGE WIDTH MIN. STAGE DEPTH MIN. STAGE HEIGHT MIN. WING SPACE (metres) (metres) (metres) (metres) Royalties % 12 4 4

Describe your APRA Venue Crew Requirements LIGHTING CREW SOUND CREW STAGE CREW TOTAL VENUE CREW obligations if applicable (hours) (hours) (hours) (hours) 6 2 8 Budget notes Crew Notes

/TECHNICAL INFORMATION Transport Notes This production can travel in a single eight seat vehicle. Flying is possible with some additional cases planned for. Technical Rating C Industry Reference (A, B, C, D,) as per NTS Format

Technical Links https://drive.google.com/open?id=0B51vDiNR2JVOaXBYMGJ1ZlNWWk0 /NOTES Theatre Formats Flexible.

Bump‑in Time 4 Bump‑out Time 1

In‑Brief Lighting Final touring lighting designs are under development. The design will be built to be realised in Requirements any venue - based around a standard three colour and front wash with the addition of up to four specials. A mirror ball will be used if avaiable. A full lighting plan, fixture and focus notes and cue list will be available before the ShowBroker event. Lighting will be operated by the venue crew.

In-Brief Audio Requirements Australian Booty is primarily a musical performance and therefore requires a quality sound reinforcement system appropriate to the venue size. The system should be full range with subs and a mixing position in the auditorium. The sound console needs at least 12 Channels with 4-6 Auxiliary Sends. Ideally the lighting and audio control positions are in the same location. Venue to Supply (4) Stereo D.I.S w/ Appropriate Leads (For DJ mixer /2 x Laptops/CDJ Note: Busty Set up on stage) (1) Microphone E.G. Shure with Leads (Back up) (3) Microphone Stands (2) Wireless Microphones clips for mic stands (note: for Senheiser ew100 G2) (1) Data Projector (High res quality for classic film dimensions) (1) Projection Screen (minimum 2m by 2m) Appropriate Leads - To Projector/To Computer/To Sound Desk Note: Please ensure the in house Tech is able to set up AV (connection to computer, projector and sound desk.) Foldback Full range foldback monitor in DJ booth At least two stage monitors PRODUCER SUPPLIES - Wireless Microphones and receivers - Senheiser ew100 G2 (2) AC/AD Adaptors *input 240v-50Hz *output - 12v/500ma adaptors

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Performance and Big Tops & Tiny Tots is self produced by Solid State Circus and has toured through over 160 THE BIG TOPS & TINY Touring History kindergartens and preschools in every state and territory (except SA!) since 2014, managed by the Young Australia Workshop. TOTS CIRCUS SHOW Burrinja Circus Festival (Burrinja Theatre) - 1 show, 2015 - Burrinja & Solid State Circus SOLID STATE CIRCUS PTY LTD Melbourne Fringe (Meat Market) - 8 shows, 2016 - Solid State Circus & Upswing Arts

Knox Festival - 2015 - Solid State Circus

National Folk Festival (Kid’s Fest) - 2015, 2016

Contact Person Luth Wolff Various Yarra Ranges Council & Eastern Regional Library events

Email [email protected] Number of People in 1 Touring Party Contact Phone 0415 231 259 Touring Personnel Luth Wolff | Performer / Producer | Yes Organisation Website solidstatecircus.com.au

State VIC /MARKETING AND COMMUNITY ENGAGEMENT History and Background Solid State Circus provides high quality, larrikin circus shows for festivals, corporate events and schools. We have extensive experience touring with the Young Australia Workshop through Key Audience and Big Tops & Tiny Tots is aimed at children aged 3-6 and their accompanying adults. There is schools and kindergartens in every state and territory of Australia, having performed for more Marketing Notes little other work created specifically for the Preschool aged market, and this show is heavily than 100,000 schools kids since 2010, without funding support. Solid State prides ourselves on grounded in the Early Years Learning Framework to support integration into preschool being Aussie, adaptable, hard working and not taking ourselves too seriously. We love getting curriculum. Big Tops has proven popular to Early Years school groups, young families, regional, and know how valuable it is to the smaller communities to have art and entertainment grandparents, mum’s groups, and those wishing to introduce their young children to live accessible to all. performance with a joyful interactive experience.

Written by Luth Wolff Marketing Selling Points In a world of screens, introducing young children to live performance is more important than ever. Big Tops & Tiny Tots explicitly teaches children how to be a great audience and how to Directed by Luth Wolff really get involved with live art. Creative Team Luth Wolff - Producer, Creator, Performer Luth Wolff has performed for more than 100,000 school kids across every state and territory Artform Childrens of Australia over the past 6 years with her company, Solid State Circus. From inner city Sydney & Melbourne, across the Nullarbour to Perth, up to Darwin and even Cairns, this girl really has Marketing Tagline A rollicking adventure through circus for 3-6 year olds! been everywhere, man.

Synopsis Big Tops and Tiny Tots is a rollicking adventure through circus for 3 - 6 year olds, introducing Clips Short Promo: https://youtu.be/BYoTQf6cqIc young children to the joy of live performance and silly circus tricks. With hula hoops, unicycle, spinning plates and plenty of help from the audience, Dandenong Ranges circus performer Luth Full Show: https://youtu.be/nvoH1ZlLRrw Wolff delights and engages young children in this nationally touring circus show. Marketing Materials Images & Files: http://schools.solidstatecircus.com.au/links.html The show explores the themes of communication and balance, from balancing objects to balancing ourselves, and even making a balanced diet. Heavily grounded in the Early Years Facebook: https://www.facebook.com/SolidStateCircus/ Learning Framework, Big Tops & Tiny Tots guides young children towards Being, Belonging and Becoming as they learn to interact with live performance and explore the world of circus. Review: https://theatrepress.com.au/2016/09/22/melbourne-fringe-2016-big-tops-and-tiny- tots/ Big Tops & Tiny Tots has toured through over 160 Preschools & Kindergartens in every state and territory of Australia (except SA!) over the past 2 years. Since she was 6 years old, Luth Promotional Images http://schools.solidstatecircus.com.au/links.html Wolff has gained 20 years experience in performing, managing and teaching circus as an Community Engagement Circus workshops available for groups of max 30 kids with adult / teacher accompaniment. independent performer, small company and circus school manager. Activities 40 minutes of juggling, jumping and just having fun. Short Review Luth Wolff can do magic. And I dont just mean her nice slight-of-hand and neat balancing tricks Content Warning I mean, this woman can keep several dozen highly excited preschoolers and preps under her NO spell for nearly an hour. - Theatre Press, Melbourne Fringe 2016

Availability 01/11/2017 - 31/12/2019

Duration of show in minutes 45 Not including interval

Does the show have an No interval, and if so, how long?

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/BUDGET AND FEES /NOTES

Budget Category Tour Ready - production has completed a premiere season and is now seeking presenters to build a tour and source tour funding, if required.

Remount Cost $ 0

Weekly Fee $ 2000

Per-Performance Fee $

Royalties %

Describe your APRA APRA is applicable for this show. obligations if applicable

Budget notes

/TECHNICAL INFORMATION

Technical Rating D (A, B, C, D,) as per NTS Format

Technical Links http://schools.solidstatecircus.com.au/uploads/8/8/2/3/8823978/big_tops___tiny_tots_ technical_details.doc

Theatre Formats Black box, Flat Floor, Hall, Normal rooms, very flexible

Bump‑in Time 1 Bump‑out Time 0.5

In‑Brief Lighting House rig, warm wash, no changes. Daylight if possible, or house lights remain on during Requirements performance

In-Brief Audio Requirements 1x radio mic (Samson airline, provided by performer) - 1/4”” jack/ DI within 15m of stage

1x aux jack within 15m of stage (music device - provided by performer)

Cues controlled by performer via bluetooth

Performer can provide own sound system for small venues.

In-Brief Staging Requirements Two folding benches with small props only. Describe your set and construction. How does it sit on stage? Is a fly system required? Any technical Show works best with children sitting on floor / stage level with performer, behind a rope line. warnings? Do you require an Parents sit in chairs, or join kids on floor. orchestra pit? Piano? Smoke/ strobe machine etc?

Stage Dimensions MIN. STAGE WIDTH MIN. STAGE DEPTH MIN. STAGE HEIGHT MIN. WING SPACE (metres) (metres) (metres) (metres) 5 4 3

Venue Crew Requirements LIGHTING CREW SOUND CREW STAGE CREW TOTAL VENUE CREW (hours) (hours) (hours) (hours) 0

Crew Notes Need someone to turn on lights & do sound check only. All cues operated by performer from stage.

Transport Notes 1 Small station wagon / suv (artist can provide)

Industry Reference Felicia O’Brien | Upswing Arts | 0417 726 378 | [email protected]

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Short Review “Choreographer and dancer Victoria Chiu and collaborator and dancer, Kristina Chan, elegantly DO YOU SPEAK turn over questions about post-colonial identity and the connection between language and roots just as deftly as they fold giant sheets of paper.” CHINESE? Varia Karipoff, Realtime VICTORIA CHIU / MULTICULTURAL “Dense and extraordinary physical poetry” ARTS VICTORIA Susan Bendall, Dance Australia

Availability 01/06/2018 - 01/03/2019

Duration of show in minutes Contact Person Victoria Chiu 52 Not including interval Email [email protected] Does the show have an No Contact Phone 0414 822 550 interval, and if so, how long?

Organisation Website victoriachiu.org Performance and Premiered Dance Massive, Malthouse 2015 - 6 shows - SOLD OUT Touring History State VIC Toured to China Shanghai Int. Arts Festival, Shanghai, RAW!Land 2015 - 2 shows - SOLD OUT Bendigo Old Gaol for Confucius Institute 2015 - 1 show and ACOLA launch of Asian Engagement History and Background I am an Australian contemporary dance choreographer invested in researching physicalities Paper, 2015 - 1 performance that can tell stories. I am drawn to investigating cultural and Australian identity in my works. My work is performed in controlled theatre spaces but is also frequently adapted to museum, art Number of People in 5 gallery and outdoor sites. My work has been presented in 4 continents. The type of work I make Touring Party balances negative worldly influences so I am passionate to get mine and other independent voices and bodies out into Australia and across the world, connecting with as many people on Touring Personnel Victoria Chiu | Artistic Director and dancer | yes the journey as possible. Kristina Chan | Dancer | yes depending on dates Written by Victoria Chiu Hsin Ju Chiu | Dancer when Kris Chan not available | yes Directed by Victoria Chiu Mindy Meng Wang | Guzheng player - composer|yes Creative Team Choreographed & Performed by Victoria Chiu in collaboration with Kristina Chan Performed in Roland Cox | stage manager and tech | yes Shanghai with Hsin Ju Chiu Composed and Performed - Mindy Meng Wang Electronic Music Bosco Shaw or Adam Hardy | lighting designer and props | yes depending on dates - Ma Haiping Lighting Designer - Bosco Shaw Lighting Realisation - Adam Hardy Paper Artist - Benja Harney Costume Design - Harriet Oxley Assistant Director - Roland Cox Writer - Lian Low Dramaturge - Jana Perkovic & Felix Ching Ching Ho /MARKETING AND COMMUNITY ENGAGEMENT Artform Dance Key Audience and Anyone with mixed heritage Marketing Tagline Our bodies speak for us even before we’ve had a chance to open our mouths Marketing Notes Anyone who has been marginalised Synopsis Do You Speak Chinese? is a question many Australians are asked every day. Choreographer and dancer Victoria Chiu is a Melbourne girl. She doesnt speak a Chinese language and the closest CALD audiences thing she has to a Chinese cultural ritual is the odd weekend yum cha session. Nonetheless, Contemporary dance audiences people often see her as Chinese. Physical theatre audiences Developed in collaboration with dancer Kristina Chan, this beautifully choreographed performance plays with the many ways our bodies speak for us, often before weve even had a Australians with interest in identity chance to open our mouths. Marketing Selling Points Complex poetic bodies Artfully exploring the connection between physicality, language and race, Chiu boldly recreates identity through language. Beautiful, poetic dancing

Live music - traditional Chinese instrument Synopsis Live Art - ink is dripped over the dancers and spread across paper through movement Part 1: search for identity, feeling of having no clear identity and being ashamed of heritage, The work can be adapted to site specific - indoor preferable marginalised because of socially assigned identity that I can’t connect with. I don’t speak Chinese and my father does. This work could be coupled with one my site specific works as a double/triple bill:-

Part 2: looking for connections to bloodlines, specifically in the landscape of Hong Kong. Fire Monkey - which is a collaboration with Arts Fission, Singapore and was performed outside between the Arts Centre and Hamer Hall on the Arts Centre lawn December 2016 Part 3: acceptance of heritage and all the complexities that comes with being Australian with 1 Grotto - performed inside the Immigration Museum Long Room for Asia TOPA February 2017 parent who has migrated.

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Clips https://youtu.be/qrsowQ5bLPk - Preview from Malthouse season In‑Brief Lighting Lighting is adaptable to different conditions Requirements Lighting: https://youtu.be/e9XF_O1XJuA - Film from Shanghai season Venue or presenter to supply all lighting including lights, dimmers, control systems, light

accessories and consumables/gel. Full length show available on request Equipment to be supplied as per list below. Substitute similar equipment as required, house Marketing Materials www.victoriachiu.org lighting additional to this list:

Fixtures: REVIEWS - https://www.dropbox.com/sh/ax7e3jo4sjxdnrn/AACK8mowg- RacKyQl4dHG7sha?dl=0 18 x 650w Fresnels including colour frames and Barn doors (1 kw may be required, venue dependant) INTERVIEWS - https://www.dropbox.com/sh/7r7azs6ihuw13ss/ 10 x 650w Zoom Profiles 24_/40_ AADFhhoIniOvjVfWckRh_2_2a?dl=0 18 x 650w Zoom Profiles 16_/30_

Rigging: PHOTOS - https://www.dropbox.com/sh/600gf1aizanp8f0/ AABle7GcDS8wNx4hRWkzm4N0a?dl=0 6 x H-Stands (low floor stands) Dimming: Promotional Images https://www.dropbox.com/sh/600gf1aizanp8f0/AABle7GcDS8wNx4hRWkzm4N0a?dl=0 48 x 2.4kw Dimmers Community Engagement Story telling - morning or afternoon tea, or post show discussion with general public Control: Activities Contemporary Dance workshops - movement or choreography based - for dancers and Etc element or Similar (Etc element show file can be supplied) choreographers In-Brief Audio Requirements Depending on size of theatre: Live music and dance workshop - combining movement, improvisation and live music - Mic for live instrument musicians and dancers EQ and mixer Traditional Chinese Guzheng workshop - Chinese instrument musicians 2 bass speakers How to jam with a Guzheng - all musicians and all instruments 4 full frequency speakers

Content Warning NO In-Brief Staging Requirements 6-7* pullies that will be attached to 6-7* scrolls (* depending on size of space) Describe your set and construction. The show can be performed without the scrolls /BUDGET AND FEES How does it sit on stage? Is a fly 2 solenoids that will be hung in specific places and hung higher than the solenoids a vessel system required? Any technical warnings? Do you require an containing black watered down paint. Budget Category Tour Ready - production has completed a premiere season and is now seeking presenters to orchestra pit? Piano? Smoke/ large roller screwed into the floor so a large roll of paper can be pulled out during show build a tour and source tour funding, if required. strobe machine etc?

Remount Cost $ 10000 Stage Dimensions MIN. STAGE WIDTH MIN. STAGE DEPTH MIN. STAGE HEIGHT MIN. WING SPACE (metres) (metres) (metres) (metres) Weekly Fee $ 7500 10 6 4 Per-Performance Fee $ Venue Crew Requirements LIGHTING CREW SOUND CREW STAGE CREW TOTAL VENUE CREW Royalties % (hours) (hours) (hours) (hours) Describe your APRA 4 1 5 obligations if applicable Crew Notes Bump In Notes Budget notes This show can be performed with 2 of my other site specific works for extra cost. But for 2 Our lighting designer will need assistance from 1 of the theatre’s techs shows this show + the site work + workshops + community engagement would be a bargain. Bump In Sound Crew Notes Our sound operator needs assistance from someone who knows the theares sound system /TECHNICAL INFORMATION Bump In Staging Crew Notes Pulley system and drips need to be hung and tested in the theatre with help from 1 theatre’s techs Technical Rating B Bump In Other Crew Notes (A, B, C, D,) as per NTS Format conditions of set are negotiable Technical Links https://www.dropbox.com/sh/2nhqlvnfosvs09l/AABWIOrnl0PT0b9IN0WRE7ZRa?dl=04 We are travelling with lighting designer who can operate the show and can activate staging if all can be activated from the bio box Theatre Formats Adaptable to Proscenium Arch, Black Box, Thrust, Flat Floor, Hall Transport Notes Production can travel by plane. Bump‑in Time 4 Bump‑out Time 2 If driving 8 seater van

Industry Reference Jill Morgan | Multicultural Arts Victoria | [email protected]

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Duration of show in minutes PREHISTORIC 85 Not including interval

ELBOW ROOM Does the show have an No interval, and if so, how long?

Performance and 2013 / Metro Arts Season of the Independents Touring History 20 November 7 December co-presented by Metro Arts & Elbow Room originally commissioned by Backbone Youth Arts

Contact Person Samantha Butterworth 2014 / Brisbane Festival

Email [email protected] 23 - 27 September

Contact Phone 0420 452 088 co-presented by Brisbane Festival and Elbow Room

Organisation Website elbowroomproductions.com 2014 / Melbourne Fringe Festival 30 September - 5 October State VIC co-presented by Darebin Arts and Elbow Room” History and Background Elbow Room is a company of theatre practitioners who are committed to the rigorous development of the craft of writing and performance making, in order to test and strengthen Number of People in 5 the relationship between art and society, and the capacity of that relationship to create change. Touring Party

Since 2008, Elbow Room has produced 10 original works devised with collaborators (and 1 Touring Personnel Brigid Gallacher | Deb | Yes acclaimed presentation of Fewer Emergencies), and won 7 awards from 15 nominations at Melbourne Fringe, Green Room and Matilda Awards - 6 of their works have been re-presented Zak Pidd | Pete | Yes up to 4 times a total of 22 presentations around the country. Matt Furlani | Nick | Yes Written by Marcel Dorney Tamiah Bantum | Rachel | Yes Directed by Marcel Dorney Marcel Dorney | Tour Manager / Sound Tech | Yes Creative Team Original music composed and arranged by Marcel Dorney with Steve Toulmin; designed by Madeline Taylor; lighting design by Daniel Anderson; Performers: Brigid Gallacher (Deb), Zak Pidd (Pete), Matt Furlani (Nick) and Tamiah Bantum (Rachel) /MARKETING AND COMMUNITY ENGAGEMENT

Artform Drama Key Audience and This show has broad appeal, particularly to younger people for whom the 1970s are a culturally Marketing Notes influential but increasingly historically remote period, as well as those that lived through the era Marketing Tagline A high energy punk rock play with music about four young people resisting fascism in 1970s of the Bjelke-Petersen government. Brisbane.

Synopsis Set in the 11th year of the Bjelke-Petersen administration, around clashes between police and Previously, the production has been heavily patronised by 15-30 and 40-55 year olds. Those 15- young people at independent music gigs, it takes us to a time when Australia began to take the 30 are attracted to the energy of the music, and relate to the characters’ lived experiences. The direction were on today. show has a unique appeal to the 40-55; ‘Prehistoric’ distinctively communicates a very 1970s attitude - including that period’s healthy distrust of nostalgia! It celebrates the cultural incubator that Brisbane became, producing some of our most progressive, effective and enduring cultural statements, despite being widely regarded as a Marketing Selling Points Prehistoric activates non-theatre going audiences; both its story and how its told engage backward place, where politically and culturally restrictive laws were often unofficially enforced. people that don’t usually see theatre. This is an opportunity to attract the people that This history is known widely, but not well, and the work has provoked many in its audience to traditionally do not regularly attend performing arts centres. It is also a unique opportunity to share their experiences. activate non-traditional theatrical spaces: e.g. band rooms, town halls, youth clubs. Featuring original music inspired by the artists of the time, ‘Prehistoric’ invites audiences to see Young people, fans of Australian music, and those 50+ who witnessed the era of Joh Bjelke- their city through the prism of the late 1970s, with a brand of humour that is dark, ironic and Petersen came in their droves. To encourage these demographics, Elbow Room will offer a iconoclastic. Playful, self-aware, and passionate, ‘Prehistoric’ takes audiences straight to the series of community engagements. beating heart of the Moonlight State. Clips Trailer (1.06 duration) - https://vimeo.com/203072765 Prehistoric received the highly competitive Best Performance Award at the 2014 Melbourne password: saints Fringe Festival, and Best Writing (Independent Theatre) at the 2015 Green Room Awards. Full length capture of Brisbane Festival production (1:36:00) - https://vimeo. Short Review “Its pace and structure never falter, it has unforgettable scenes... you go away talking about com/111313276/242a2823d6 that period in Queenslands history and how important its been in shaping us as a community. And you cant ask for more than that.”

- The Australian

Availability 01/01/2018 - 12/12/2018

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Marketing Materials 1. Website - http://elbowroomproductions.com/?p=471 In‑Brief Lighting 2 x 12 dimmer racks Requirements 2. Elbow Room promotion video - https://vimeo.com/153861736 ETC Element desk or similar password: elbowroom Selecon PC 1000W x 2 3. Poster .pdf template - https://www.dropbox.com/s/3kkqkk1r9cz8fnp/Prehistoric%20 Selecton Acclaim 650W x 2 Poster%20Template.pdf?dl=0 ETC Source 4 PAR 575W x 2 Promotional Images Images and Reviews - https://www.dropbox.com/sh/4x9mersqmvkq4y0/AAAlg_r- ETC S4 Junior Zoom 575W x 4 PS2SZQubX4wn7UBCa?dl=0 Flouro Batten 40W x 5 Community Engagement We can offer workshops for all ages in music creation, storytelling through song, and self- Activities expression through popular music. PAR LED x 4 The cast and director can also offer master classes in music composition, writing for Aria 1K Fresnel x 8 performance, and using the arts to raise awareness in communities. These activities appeal Hazer to the non-theatre going audiences that want to engage with the community-building and expressive powers of popular music, and understand the history and enduring power of self- Gels: L063 6.25 x 4 expression. L063 125mm x 2 Education kits detailing the history and cultural movement that inform the play are available on L603 Aria 1K Fresnel 8 request. Control position between and behind audience banks Content Warning Yes. The production contains strong language, references to institutional and domestic violence, and references to drug use. In-Brief Audio Requirements P.A at least 200W - powered speakers L & R Sound desk - at least 4 channels + /stereo input /BUDGET AND FEES 3 x SM58 microphones w/stands In-Brief Staging Budget Category Tour Ready - production has completed a premiere season and is now seeking presenters to Requirements build a tour and source tour funding, if required. Describe your set and construction. A flat floor, with a drumkit and two amplifiers (50W & 100W) to be supplied by the producers, Remount Cost $ 28975 How does it sit on stage? Is a fly system required? Any technical and four chairs to be supplied by the venue, are the only set for this production. Weekly Fee $ 10962 warnings? Do you require an orchestra pit? Piano? Smoke/ Per-Performance Fee $ strobe machine etc?

Royalties % 13 Stage Dimensions MIN. STAGE WIDTH MIN. STAGE DEPTH MIN. STAGE HEIGHT MIN. WING SPACE (metres) (metres) (metres) (metres) Describe your APRA We have applied to APRA successfully for the licensing of seven compositions from the era. 6 5 3 obligations if applicable Details available upon request. Venue Crew Requirements LIGHTING CREW SOUND CREW STAGE CREW TOTAL VENUE CREW Budget notes (hours) (hours) (hours) (hours) 6 4 10 /TECHNICAL INFORMATION Crew Notes The above includes 2 crew to assist with lighting and sound during 4 hour bump-in, and 2 hours for a lighting operator during the performance. Technical Rating C (A, B, C, D,) as per NTS Format Transport Notes 1 tonne van with 5 seats.

Technical Links Lighting Plans - https://www.dropbox.com/s/rvnbpjj60da3dka/Prehistoric%20Lighting%20 Industry Reference Beau McCafferty | Darebin Arts | 0425 803 543 | [email protected] Plan%20V3.pdf?dl=0

Theatre Formats Black Box, Thrust, Flat Floor, Hall /NOTES Bump‑in Time 4 Bump‑out Time 1

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Does the show have an No PICASSO AND HIS interval, and if so, how long? DOG Performance and Venue; The Butter Factory. Year; 2016. No. of shows; 8. Presenting Org; HotHouse Theatre. Touring History Venue; Darebin Arts & Entertainment Centre. Year; 2016. No. of shows; 5. Presenting Org; LEMONY S PUPPET THEATRE Darebin Arts. Please note; we have numerous venues who have already expressed interest in this work for 2018/2019.

Number of People in 4 Touring Party

Contact Person Sarah Kriegler Touring Personnel Ben Grant | Picasso | Yes Email [email protected] Tamara Rewse | Puppeteer / performer | Yes

Contact Phone 0402 853 119 Jacob Williams | Puppeteer / performer | Yes

Organisation Website lemonys.net.au Rainbow Sweeny | Production / Tour Manager & Sound operator | Yes

State VIC

History and Background Lemony S Puppet Theatre is a small, award-winning independent theatre company with a big /MARKETING AND COMMUNITY ENGAGEMENT reputation. With puppet theatre at the core of our work, we make work for children and their families as well as adult audiences. Puppetry, as a language of archetype and symbols and due Key Audience and Picasso and His Dog’ is a rare shows that appeals across ages. Young children sit riveted while to its visual nature, can transcend cultural and language barriers and differing abilities. Theatre Marketing Notes elderly dog-lovers chuckle at dog antics and art-lovers muse on the life of Picasso. It is a unique that can do this is crucial to contemporary Australian society and so we aim to tour far and blend of puppetry, live performance and live art-making as Picasso draws, sculpts, makes wide, bringing our stories to as communities across Victoria. collage and paints on-stage. Our previous audiences have been a combination of;

Written by Sarah Kriegler - adult dog lovers - owners of dachshund Directed by Sarah Kriegler - adult art lovers Creative Team Jonothan Oxlade with Yvette Turnball - Design. Rachel Burke - Lighting Design. Jethro Woodward & Ben T.D. - Sound design and composition. Ben Grant - Picasso. Tamara Rewse - fans of Picasso’s wor - puppeteer/performance. Jacob Williams - puppeteer/performer. Rainbow Sweeny - - children and their families Production/tour management. Samantha Butterworth - Producer. - primary school groups Artform Puppetry - secondary school theatre and drama students Marketing Tagline Picasso and His Dog - for anyone who’s ever patted a dog or been moved by an artwork! - puppetry enthusiasts Synopsis One fine spring morning during 1957, an elongated sausage dog named Lump arrived at the - theatre goers home of Pablo Picasso. He looked into the deep, brown eyes of the artist and decided he was home. Combining puppetry and live performance, ‘Picasso and His Dog’ tells the story of a man Marketing Selling Points This work explores numerous themes. The key hooks are; and his dog, their deep connection and the art it inspired. It is a visually stunning and deeply moving celebration of what it is to create, and to be creative. - the animal muse in art through history This work is an inventive mix of live art-making, puppetry and magic realism. It has been made - the human/dog relationship and its importance to both species for audiences aged 4+, suitable for both general public, family and schools audiences. - how an artist works This work was developed by majority Victorian artists and was created to premiere for a - what inspires an artist to create art regional audience. It was premiered at Hot House Theatre during June 2016, to sell-out crowds of children and their families, art lovers, the dog obsessed, theatre students and puppet theatre - the true story of Picasso and Lump and the art this friendship inspired. enthusiasts. It toured then to Darebin Arts Centre directly afterwards to another sold-out season. From its inception, the work has been designed to tour easily as Jonathon Oxlade’s Previous successful marketing and community engagement strategies have been; beautiful set cleverly dismantles, fitting into a Hiace van while light and sound are simply - a dog parade transferred. - colouring and drawing competition at local libraries, museums and businesses of dog-inspired Picasso and His Dog’ is a beautifully crafted work for family audiences, carefully walking the line Short Review art between delighting young people with puppy/puppetry antics, and providing a sophisticated insight into how an artist can be inspired by the animal muse. It is visually beautiful, intelligent, - talks by local experts and artists on the relationship between animals and humans and its funny and moving.” Lyn Wallis, HotHouse Theatre health benefits

Availability 01/06/2017 - 24/12/2019 Clips Full Show - https://vimeo.com/177216847

Duration of show in minutes Short Edit - https://vimeo.com/177142118 55 Not including interval Marketing Materials https://www.dropbox.com/sh/5ytrk9o5lt8875o/AACOH8ZzmO4YeTsVgqUQu-sGa?dl=0

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Promotional Images https://www.flickr.com/photos/119580912@N04/albums/72157676354515804/ In-Brief Audio Requirements Presenter to provide with/32580120612/ - Stereo Left + Right FOH Speakers suitable to cover the size of the venue Community Engagement Lemony S Puppet Theatre are able to provide workshops and community engagement to - Subwoofer (suitable to cover the size of the venue) Activities accompany the performance. Workshops can be tailored to any age and interest of the audience/school groups. They generally include; - 1 x Onstage foldback speaker - puppet making based on puppet styles within the work (shadow puppets, table-top puppets, - x Sure SM58 Microphone object theatre) Company to provide - puppetry and performance skills (for children, teachers, interested adults or professionals) - Laptop w/ Qlab 3 installed (Audio playback & MIC FX) - exploration into the art making techniques displayed onstage - MOTU ultralite firewire Audio Interface” Educators kits are available for educators and schools. In-Brief Staging The production requires the blacking out of the performance space. A full drape and masking Content Warning no Requirements plot is available upon request. Describe your set and construction. Set consists of; How does it sit on stage? Is a fly system required? Any technical 1 x free standing flat piece /BUDGET AND FEES warnings? Do you require an orchestra pit? Piano? Smoke/ 1 x fabric back-drop Budget Category Tour Ready - production has completed a premiere season and is now seeking presenters to strobe machine etc? build a tour and source tour funding, if required. Numerous small set pieces

Remount Cost $ 14209 Stage Dimensions MIN. STAGE WIDTH MIN. STAGE DEPTH MIN. STAGE HEIGHT MIN. WING SPACE (metres) (metres) (metres) (metres) Weekly Fee $ 10675 8 8 4 4 Per-Performance Fee $ Venue Crew Requirements LIGHTING CREW SOUND CREW STAGE CREW TOTAL VENUE CREW Royalties % 10 (hours) (hours) (hours) (hours)

Describe your APRA 8 8 obligations if applicable Crew Notes Total crew hours includes; 6 hrs bump in, 35 mins pre-performance, 55 mins performance, 30 Budget notes As the show was purposely built to tour, this a rare opportunity to program a Lemony S Puppet mins post performance. Theatre work at such an affordable rate. The remount is significantly reduced with minimal re- A Lighting Pre Rig including colour is required prior to the arrival of the company. rehearsal and re-design. This schedule assumes a successful transfer of lighting data saved from previous seasons. Should presenters Lighting Desk technology not be compatible additional Lighting Plot time /TECHNICAL INFORMATION will be required. An Audio Pre Rig is required prior to the arrival of the company. Technical Rating C Transport Notes The freight can travel locally by road in a van (Toyota Hiace or similar). Internationally it travels (A, B, C, D,) as per NTS Format by air or LCL sea freight. Please discuss these requirements with Production Manager. Technical Links For freight costing estimates, the below sizes of equipment can be used to obtain transport Theatre Formats Proscenium Arch, Black Box, Thrust, Flat Floor quotes.?As a guide, the sizes of the set when packed are as follows:

Bump‑in Time 6 Bump‑out Time 3 1 x Pallet of scenic flats (2000 x 1200 x 1200) approx 75kgs 1 x Pallet of scenic dressing (1200 x 1200 x 1200) approx 100kgs In‑Brief Lighting Presenter to provide. Requirements 1 x Pallet of props, costumes and puppets (1200 x 1200 x 1200) approx 100kgs. All lighting fixtures (other than floor and set electrics) required to realise the design Transport for 3 performers either by car or plane also required. Production manager generally All gel colour required to realize the design. travels with set if transportation is by road. If transportation is by air, an additional airfare is 2 x floor booms @ 1200mm height minimum required for the Production Manager.”

Minimum lighting dimmers 60 -2.4K Industry Reference Lyn Wallis | HotHouse Theatre | 02 6021 7433 | [email protected] Control Protocol DMX Preferred Lighting Desk is ETC Ion for show file transfer as originally plotted /NOTES Minimum 8 circuits floor electrics Control position; Biobox Please see following dropbox link for full lantern, stock and gel https://www.dropbox.com/sh/7jew3x7kq3o74e2/AACyjCYd8FeYhZsNqIb3XnI-a?dl=0

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Performance and Turing Pirate presents The Unitarian Church, Dublin Ireland 2015 THE VERY ROUND Touring History Turing Pirate presents The INEC, Killarney Ireland 2015 ROBIN Turing Pirate presents Whelans, Dublin Ireland 2015 RED HOT PRODUCTIONS Turing Pirate presents Candelo Town Hall, NSW Australia 2016 Turing Pirate presents The Performing Arts Centre, Ararat VIC Australia 2016 Turing Pirate presents Blarney Books, Port Fairy VIC Australia 2016 Turing Pirate presents Blarney Books, Port Fairy VIC Australia 2016 Turing Pirate presents Bella Union, Melbourne VIC Australia 2016 Contact Person Dianne Toulson Turing Pirate presents Beav’s Bar, Geelong VIC Australia 2016 Email [email protected] Turing Pirate presents Philip Island VIneyard & Windery, VIC Australia 2016 Contact Phone 0437 278 886 Turing Pirate presents The Caravan Music Club, Oakleigh VIC 2016 Organisation Website theveryroundrobin.com Turing Pirate presents Willaura Memorial Hall, VIC 2016

State VIC Ararat 2016 Number of People in History and Background The concept behind The Very Round Robin show is one that mirrors a style as old as the 3 concept of the music show itself. This show brings together three artists on stage for an old Touring Party style music show, where artists share and collaborate on music, stories and harmonies, blurring Touring Personnel Roesy | singer songwriter (guitar and vocals | yes the lines between the artist's individuals pieces. Touring this show builds relationships between the audience and the artists, it creates a comfortable engage both on and off the stage and Gallie | singer songwriter (guitar and vocals | yes there is always a great sense of community after the performance. Australian Special Guest | singer songwriter | to be announced per booking Written by Roesy and Gallie

Directed by Roesy and Gallie /MARKETING AND COMMUNITY ENGAGEMENT Creative Team Roesy/Gallie and special Australian guest (guitarist and vocalists) Key Audience and This production has a diverse audience appeal and presents well in any environment , family Artform Live Music Marketing Notes friendly and also great adult evening entertainment. Audiences of all ages will be entertained and inspired to sing along as this music has wide appeal and the stories are filled with humor. Marketing Tagline If being by a campfire listening to songs and stories is your thing, this is the warmth you’re after This performance can fill the largest of venues and presents just as well in any small intimate Synopsis The show encourages an atmosphere where the lines between audience and stage are just setting. The production requirements have no limitations on the type of venue it can be as blurred, giving the audience a unique opportunity to see an intimate display of talents and performed in. From toe tapping sing along’s to heartbreaking ballads this show takes you on an experience among musical peers. It is a show like no other, unique in it’s capacity to reach a international musical journey. large audience on a one to one level due to the warmth that both Gallie and Roesy bring to Marketing Selling Points Three award winning musicians telling stories and singing songs in a pass guitar style show their stories and songs. The stories are sometimes comical sometimes tragic but the delivery is always from the heart. Led by expat Irish singer/songwriters Roesy and Gallie and joined by a special Australian guest The show was founded in Ireland back in May 2006 by singer/songwriter Roesy and Una Molloy Appropriate for all ages of the Turning PIrate agency. Approx 90 minute running time, without an interval although this can be negotiated with the “Una has shaped the musical landscape and built up the countrys musical reputation both at venue if they prefer home and abroad” - The Irish Times (Niall Byrne) Plenty of good humour and at times both musical interaction and story telling among the The Very Round Robin is now represented here in Australia by Irish expats Roesy and Gallie musicians and joined on the night by an Australian songwriter having had shows in the past with Rebecca Barnard, Lucie Thorne and will be joined by one of Australia’s greats later in the year, Liz The performance takes you through the life and times of travelling musicians, their life and Stringer.” childhood growing up and travelling the world”

Short Review “One of favourite shows of the year”. Peter Foley - Promotor & Manager at Caravan Music Club, Clips Roesy: https://www.youtube.com/watch?v=q1iSHGdHGvQ Oakleigh, Melbourne. Gallie: https://www.youtube.com/watch?v=Irm4gxW8gDs Availability 01/08/2017 - 15/12/2018

Duration of show in minutes 90 Not including interval

Does the show have an Yes. If venue prefers an interval 20 negotiable interval, and if so, how long?

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Marketing Materials Roesy Biography: https://www.dropbox.com/s/eg7ndwe262f6m97/Roesy%20Biog%202017. Stage Dimensions MIN. STAGE WIDTH MIN. STAGE DEPTH MIN. STAGE HEIGHT MIN. WING SPACE pdf?dl=0 (metres) (metres) (metres) (metres) Gallie Biography: https://www.dropbox.com/s/nw52sjvcpitwtfl/Gallie%20Biog%20 2017.pdf?dl=0The Very Round Robin Marketing Toolkit: https://www.dropbox.com/s/ l2yfabxzlfwityw/TVRR%20Marketing%20ToolKit%20FINAl.pdf?dl=0 Venue Crew Requirements LIGHTING CREW SOUND CREW STAGE CREW TOTAL VENUE CREW (hours) (hours) (hours) (hours) The Very Round Robin Design Collateral: https://www.dropbox.com/s/xpxztxi9e2ehipd/ TVRR%20Collateral.pdf?dl=0 4 4 Company can provide all print ready artwork and design Crew Notes Sound check and operation for production

Promotional Images https://www.dropbox.com/sh/c3e1szvjie2f3rn/AABXgaYp_BjjID0mR2H5wUbca?dl=0 Transport Notes None

Community Engagement Roesy and Gallie deliver songwriting workshops the day of, or after the show, The workshops Industry Reference Peter Foley | Promotor & Manager of Caravan Music Club, Oakleigh.\ | 0411 569 180 | Activities are most suited to those 15yr+ [email protected]

Content Warning NO /NOTES /BUDGET AND FEES

Budget Category Ready to Go - available for one-off performances, no remount required

Remount Cost $

Weekly Fee $

Per-Performance Fee $ 3500

Royalties % 10

Describe your APRA All music is original and artists are registered with APRA so no obligation to the venue obligations if applicable

Budget notes Fee does not include tour sound technician which can be negotiated if required. A 3 hour songwriting workshop with Roesy and Gallie comes at an additional cost of $1000.

/TECHNICAL INFORMATION

Technical Rating D (A, B, C, D,) as per NTS Format

Technical Links https://www.dropbox.com/s/l2yfabxzlfwityw/TVRR%20Marketing%20ToolKit%20FINAl. pdf?dl=0

Theatre Formats Any

Bump‑in Time 4 Bump‑out Time 1

In‑Brief Lighting Basic wash and spot if available Requirements

In-Brief Audio Requirements 3 Mics and foldback on stage - as long as the sound is good

In-Brief Staging Requirements Describe your set and construction. How does it sit on stage? Is a fly 3 chairs, 3 bottles of water system required? Any technical warnings? Do you require an orchestra pit? Piano? Smoke/ strobe machine etc?

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Duration of show in minutes HALLOWED GROUND 80 Not including interval

- WOMEN DOCTORS Does the show have an No IN WAR interval, and if so, how long? Performance and Three rehearsed readings of Hallowed Ground were presented in December 2016 as part of Touring History La Mama’s Exploration Season. This performance outcome was part of the first development THE SHIFT THEATRE phase funded by the ANZAC Centenary Arts and Culture Fund, presented by The Shift Theatre, Auspicious Arts Projects and La Mama Theatre. In 2017 the project will be developed into a full production ready for a premiere season and touring in 2018/19 to coincide with the end of the ANZAC Centenary.

Contact Person Helen Hopkins Number of People in 5 Touring Party Email [email protected] Touring Personnel HELEN HOPKINS | ACTOR-LILIAN / WRITER | YES Contact Phone 0407 876 813 CAROLYN BOCK | ACTOR-CATHERINE / WRITER | YES Organisation Website theshifttheatre.com FIONA MACLEOD | ACTOR-MARY | YES State VIC

History and Background The Shift Theatre is focused on presenting dynamic works with strong roles for women, both from existing texts and in the development of new works. Our aim is to provide a stimulating /MARKETING AND COMMUNITY ENGAGEMENT and collaborative platform for directors, actors and a creative team who share our vision for a vibrant ensemble company and stories that capture the heart and the imagination.Founded Key Audience and We encourage venues to contact local army personnel, R.S.L.s, Lions Clubs , Rotary Clubs, in 2009, The Shift Theatre produced an original Australian work; The Girls in Grey which had a Marketing Notes Senior Citizens groups, C.W.A. and other women’s organisations, book clubs, historical societies season at TheatreWorks in St Kilda in 2012, toured Victoria in 2013, N.S.W. and Victoria in 2014 and secondary schools (History, English and Drama classes). Our previous Anzac themed show and W.A. in 2015. proved very successful with all these target groups. Local hospitals, and doctors specifically, will be keen to follow the progress of female military doctors over the past century. The positive Written by Carolyn Bock and Helen Hopkins refugee experience examined in the piece will also attract a different section of the community.

Directed by Tom Healey Marketing Selling Points The Shift Theatre will build an extensive collection of marketing collateral including media releases, images and historical information, all of which will be available free of charge to Creative Team CAST: CATHERINE/RWANDA - Carolyn Bock TAM - Chi Nguyen MARY/JO/MEDIC Fiona venues who book the show, supported by a website, Facebook page and Youtube. The touring Macleod LILIAN/MAC Helen Hopkins DIRECTOR Tom Healey SOUND DESIGN Nick Van team are enthusiastic about supporting the show through interviews and photos with local Cuylenburg LIGHTING DESIGN/PRODUCTION MANAGEMENT Rebecca Etchell radio and newspapers. As for our previous ANZAC play, The Girls in Grey, the marketing hooks Artform Drama are the final year of the Anzac Commemoration, inclusive women’s stories, Australian History as well as the new theme: the refugee experience. Marketing Tagline Heartfelt stories spanning a century of women doctors in war. Clips https://youtu.be/lESbZ8cKz9k Synopsis Hear the journey of womens contribution as military doctors and surgeons throughout the past century. From the civilian trail blazers, first denied military service with Australian forces in Marketing Materials https://theshifttheatre.com/media-resources/ World War One, to those currently serving with our armed forces in the Middle East, Hallowed https://theshifttheatre.com/media-resources/photo-gallery/ Ground examines the vast experience of service from the personal perspectives of women doctors in war. Promotional Images https://theshifttheatre.com/media-resources/photo-gallery/hallowed-ground-gallery/

The story of the Australian women doctors in the military highlights the significant Community Engagement We are passionate about community engagement. Based on previous engagements, we advancement in attitudes and recognition of our women on active service. Hallowed Ground Activities would work closely with venues to encourage the following: Q and A session at the end of is a composite of first hand experiences spanning a century of women doctors in war. The performances to encourage audience members to share their connection to the play and invite play investigates World War 1 pioneers who served with the Scottish Womens Hospital, outfits local historical societies and RSL clubs to organize a small collection of local artifacts and staffed predominantly by women. In WW2, at home and abroad, they determined to serve stories in the foyer of the venue. We can deliver talks to the community and schools about the as surgeons, radiologists, pathologists and researchers, and finally- granted admission within writing, research and development of the play, writing workshops for the local community, the Australian Army. From Vietnam to the Middle East, as peacekeepers and in times of crisis, drama workshops and a comprehensive schools education pack. women doctors have served our military with growing numbers and significant ranks bringing cultural diversity, expertise and humanity to the harrowing task of conflict medicine. Content Warning No

Short Review It is so timely as we move towards the conclusion of the Anzac centenary commemorations that women’s voices are included in our national narrative.Carolyn and Helen have delivered an /BUDGET AND FEES exceptionally powerful and faithful depiction of their adventures from the battlefields of World War I through to contemporary operations in Afghanistan. Susan Neuhaus Colonel (Rtd) Royal Australian Army Medical Corps Budget Category In Development - work which will be produced and premiered in time for touring during 2018/19

Availability 01/07/2018 - 31/12/2019 Remount Cost $ 0 Weekly Fee $ 10000

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/NOTES Per-Performance Fee $

Royalties % 12

Describe your APRA obligations if applicable

Budget notes As the production will tour directly after a Melbourne season, no remount cost will apply.

/TECHNICAL INFORMATION

Technical Rating C (A, B, C, D,) as per NTS Format

Technical Links

Theatre Formats Adaptable for a number of venues.

Bump‑in Time 4 Bump‑out Time 1

In‑Brief Lighting Minimum 48 channels. Programmable lighting desk. Company to provide a lighting plan no later Requirements than 4 weeks before bump in. Front of house operating position. A pre-rig will be needed.

In-Brief Audio Requirements Standard PA required. Company to provide all additional audio equipment for playback (laptop/sound card operated at prompt corner)

In-Brief Staging Requirements Describe your set and construction. How does it sit on stage? Is a fly We will probably fly some scenery - but static (not flown during the show) system required? Any technical warnings? Do you require an orchestra pit? Piano? Smoke/ strobe machine etc?

Stage Dimensions MIN. STAGE WIDTH MIN. STAGE DEPTH MIN. STAGE HEIGHT MIN. WING SPACE (metres) (metres) (metres) (metres) 6 4 4

Venue Crew Requirements LIGHTING CREW SOUND CREW STAGE CREW TOTAL VENUE CREW (hours) (hours) (hours) (hours) 8 4 4 16

Crew Notes We usually require 1x lighting operator - show will be called by the Stage Manager. Stage Manager operates audio from prompt corner. These staging requirements are based on large regional theatres. The production will be adaptable for small venues.

Transport Notes 1 tonne van + car. Production could travel by plane.

Industry Reference Chris Bendall | Critical Stages | 0408 322 062 | [email protected]

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Performance and The show premiered at CIrcus Oz’s spiegel tent in late 2016 and performed two shows a day for 3 SPEED CRUNCH Touring History one week. IT will perform in Geelong later in the year for Circus OZ and will also perform as a BOX RE-BOOTED part of Burrinja’s circus festival. Number of People in 3 DISLOCATE Touring Party Touring Personnel Geoffrey Dunstan | performer, producer | yes Kate Fryer | performer | yes Luke Taylor | performer l yes

Contact Person Geoffrey Dunstan /MARKETING AND COMMUNITY ENGAGEMENT Email [email protected] Key Audience and This production is fabulous for school incursion, excursions or family audiences!! It can be Contact Phone 0418 773 453 Marketing Notes coupled with circus/performance workshops to create a longer event, or it can be a stand alone show. Organisation Website dislocate.net Marketing Selling Points Circus, slapstick, highly humerous, ridiculous stunts performed by Australia’s most enduring State VIC contemporary circus ensembles. History and Background Dislocate are the story tellers of Australian circus. From our fairy show for pre-schoolers to Dislocate has taken the characters from their world touring show 3 Speed Crunch Box and recently creating a new opera for Vic Opera, we consistently create amazing characters that added even more slap stick, more stupidity, bigger tricks, wrapped it up in a belly full off laughs weave circus tricks seemlessly into a narrative. Our new show 3 Speed Crunch Box Re-BOOTED and will present to you.....drum roll.....3 Speed Re-BOOTED. was commissioned by Circus OZ for their schools program and was an instant success. Clips https://vimeo.com/203065339 Dislocate are committed to a carbon neutral regional touring program and will be turning up to your festival / theatre / event on an electric bike, we welcome any publicity to advertise this https://vimeo.com/203065339 new aspect of the company Marketing Materials https://www.dropbox.com/sh/pfx5mqom10vhzw3/AACniWoGLVCO9x0EUckjUUOHa?dl=0 Written by Dislocate http://www.dislocate.com.au/web/Home.html

Directed by Kate Fryer and Geoffrey Dunstan Promotional Images https://www.dropbox.com/sh/5l9j7484tqtcawp/AAD2WFIdJh49MnmXCufCGFbOa?dl=0

Creative Team Kate Fryer, Geoffrey Dunstan, Luke Taylor Community Engagement Dislocate have run an extensive variety of workshops and masterclasses in circus skills, clown Artform Physical Theatre Activities and performance for a wide range of abilities and ages. We are keen to couple the show with workshops. Marketing Tagline LOL STUPIDITY, SIDE SPLITTING SLAP STICK. NAIL BITING CIRCUS TRICKS, AND A Content Warning PHENOMENAL FINISH! No

Synopsis The show introduces kids to the artistic process of creating a slap stick,acrobatic show. The characters get the kids involved at the beginning of the show to help create a new show; giving /BUDGET AND FEES feed back on whats funny and helping with some of the circus tricks. The whole show finishes Budget Category Tour Ready - production has completed a premiere season and is now seeking presenters to with the hilarious show within the show, which the audience has helped to develop elements build a tour and source tour funding, if required. of. (nb the show within the show is also a stand alone 30 min festival show). The show tours with a compact aerial rig that is ground based and requires only flat floor. This means that any Remount Cost $ 0 venue or festival can have high quality circus aerial performances within an amazing dislocate show without the rigmarole that can be involved with circus rigging. The show is fast paced, Weekly Fee $ 7000 outrageously funny and extremely tourable. Per-Performance Fee $ Short Review “Specialising in humorously clever aerials, tissue and acrobatics stunts, feats of human tower Royalties % 5 strength, daring balance and juggling, theatrical sounds and a rollicking musical time-warp, whilst creating an immediate up close and personal relationship with an intimate audience Describe your APRA atmosphere” metoo obligations if applicable

Availability 01/06/2017 - 01/11/2018 Budget notes We are very happy to negotiate with specific venues, and happy to do one off shows for reduced prices. Duration of show in minutes 55 Not including interval

Does the show have an No interval, and if so, how long?

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/TECHNICAL INFORMATION /NOTES

Technical Rating D (A, B, C, D,) as per NTS Format

Technical Links https://www.dropbox.com/s/2n4n8170ykedarv/TECH%20SPECS.docx?dl=0

Theatre Formats flat floor required, can be performed in theatres, shool halls out side. We require a minium of 6.5 metres height. We can perform in lower venues but will need to consult with you.

Bump‑in Time 2 Bump‑out Time 1

In‑Brief Lighting General wash and something fancy for the show within the show Requirements

In-Brief Audio Requirements Dislocate will supply three radio mikes and computer with Qlab cueing system.

In-Brief Staging Requirements Describe your set and construction. How does it sit on stage? Is a fly We need a flat stage and a minimum roof height of 6.5m. Smaller venues can be accomodated system required? Any technical with some minor changes to the show. Please consult with us if your venue is not high enough warnings? Do you require an orchestra pit? Piano? Smoke/ strobe machine etc?

Stage Dimensions MIN. STAGE WIDTH MIN. STAGE DEPTH MIN. STAGE HEIGHT MIN. WING SPACE (metres) (metres) (metres) (metres) 8 6 6.5

Venue Crew Requirements LIGHTING CREW SOUND CREW STAGE CREW TOTAL VENUE CREW (hours) (hours) (hours) (hours) 2 2 4

Crew Notes We require an experienced sound operator! lighting can be minimal but of course we do love to be lit well when the opportunity arises.

Transport Notes We plan to tour with a combination of train and electric push bike

Industry Reference Matt Hughes | programming co-ordinator at Circus OZ | 03 9676 0322 | [email protected]

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Performance and Sydney | Old 505 Theatre, 2 20 August 2016 WHO AM I..? Touring History Sydney | Bondi Pavilion, 24-25 February 2017 CATNIP PRODUCTIONS Adelaide | Adelaide Festival, 14-17 March 2017 Canberra | The Street, 28 March - 2 April 2017

Number of People in 2 Touring Party

Touring Personnel Russell Cheek | Performer | Yes Jacky Bennett | Stage Manager | Yes Contact Person Cat Dibley Email [email protected] /MARKETING AND COMMUNITY ENGAGEMENT Contact Phone 0412 523 830 Key Audience and Lovers of comedy and physical theatre Organisation Website catnipproductions.com Marketing Notes Nostalgia seekers State NSW Enjoyed by ages 25-75 History and Background Catnip Productions was founded in 2012 by Producer Cat Dibley. Cat brings with her over 10 Fans of the Castanet Club, Sale of the Century and TV quiz shows years of experience in theatre nationally and internationally. Catnip Productions has received nominations for Sydney Theatre Awards, worked at leading theatre companies in Australia and Who Am I provides its audience with glorious and hilarious escapism in the hands of a master overseas, and with some of Broadways biggest literary agents. storyteller. Cat Dibley has toured work through Australia and overseas for more than 5 years. Catnip Not your usual night at the theatre. Productions most recently toured production 4000 Miles by Amy Herzog nationally with It’s a human story about aspiration and determination vs self-doubt and loss of confidence. The Critical Stages and MopHead Productions. things we all have to confront if we have the ambition to get something done.”\

Written by Russell Cheek Marketing Selling Points WAI’s star is best known as a member of the Castanet Club, and the Director is best remembered as the beloved Sandman from Good News Week. Their fans have come out in Directed by Stephen Abbott aka The Sandman droves to catch a glimpse of their latest work. Creative Team Written and performed by Russell Cheek. Directed by Stephen Abbott (aka The Sandman) The show features hilarious AV, a smattering of physical theatre, a dash of mime and a tiny rap. Artform Comedy It is silly, hilarious, life affirming and not just for regular theatre goers. WHO AM I is a great night out for every generation. See the 80’s story through the eyes of a Marketing Tagline One man, one suit, eight nights. One moment to define a lifetime - or face national humiliation baby boomer (our quirky star) and those of a millennial, unfamiliar with things like a “”home Synopsis Welcome back our carryover champion! phone” (our onstage SM) In an hilarious true story of dedication, perseverance and grit, former Sale of the Century Clips FULL VERSION (password: AMIWHO) - https://vimeo.com/199001512 contestant (and member of The Castanet Club) Russell Cheek takes to the stage to share the story of his efforts to climb out of unemployed-actor poverty by attempting to win the jackpot Marketing Materials https://www.dropbox.com/sh/awjtjwg9ro0k786/AABvGdgmId2qPvrqBLKMdMrca?dl=0 and prizes on Sale of the Century. http://www.catnipproductions.com/who-am-i A truly human story of aspiration, optimism and the potential for national humiliation, Who Am I..? is also the story of 1980s Australia and one one mans attempt to scale the summit of all Promotional Images https://www.dropbox.com/sh/2j0e6boetqat6mx/AAD-tLDGSShjQ0cC_q5-O6hZa?dl=0 Australian quiz shows. Community Engagement Workshops are available on non performance days. With direction from Stephen Abbott, best known as The Sandman, Russell Cheek guides us all - Activities with the help of his very own “”Sale”” footage - through a journey to find out Who You Are. Workshops include: Mask, Commedia Dell’Arte’ and Storytelling.

Short Review “Brilliant, funny, nostalgic and revealing... this guy has an amazing brain.” - Newcastle Herald Content Warning No “An absolute treat - a carefree and comic delight... fascinating and funny, winning, warm and rewarding.”” - Australian Stage” /BUDGET AND FEES Availability 01/05/2017 - 01/05/2018 Budget Category Tour Ready - production has completed a premiere season and is now seeking presenters to Duration of show in minutes 80 build a tour and source tour funding, if required. Not including interval Remount Cost $ 14300 Does the show have an No interval, and if so, how long? Weekly Fee $ 6050

Per-Performance Fee $

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/NOTES Royalties % 13.5

Describe your APRA obligations if applicable

Budget notes

/TECHNICAL INFORMATION

Technical Rating D (A, B, C, D,) as per NTS Format

Technical Links

Theatre Formats Prosc Arch, Black Box, Thrust, Flat Floor, Hall.

Bump‑in Time 1 Bump‑out Time 1

In‑Brief Lighting Requirements

In-Brief Audio Requirements QLab laptop will tour. Min 2 speakers req.

In-Brief Staging Requirements Large projector screen required at back on performance area/stage. Describe your set and construction. Projector also required with decent resolution. How does it sit on stage? Is a fly system required? Any technical One stool, centre-stage. warnings? Do you require an orchestra pit? Piano? Smoke/ SM operates from stage left and interacts with performer. strobe machine etc?

Stage Dimensions MIN. STAGE WIDTH MIN. STAGE DEPTH MIN. STAGE HEIGHT MIN. WING SPACE (metres) (metres) (metres) (metres) 4 4 4 1

Venue Crew Requirements LIGHTING CREW SOUND CREW STAGE CREW TOTAL VENUE CREW (hours) (hours) (hours) (hours) 0 0 0 0

Crew Notes

Transport Notes 1 tonne van, set can travel by plane.

Industry Reference Kerri Glasscock | Old 505 Theatre | 0422 583 190 | [email protected]

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Performance and Downstairs at the Maj, FringeWorld Perth 2017, presented by Australian Cabaret Enterprises FOR LOVE OR MONEY Touring History (10 shows). Will be performing 21 shows at Adelaide Fringe 2017 at The Parlour, Royal Croquet GINGER AND TONIC Club. Number of People in 5 Touring Party

Contact Phone 0403 189 877 /MARKETING AND COMMUNITY ENGAGEMENT Organisation Website gingerandtonic.com.au Key Audience and Our show has a strong female focus, so will appeal to women and is great for girls’ night outs. State VIC Marketing Notes Our key audience is women aged 18-55, and people who want a fun night!

History and Background Ginger and Tonic is a cabaret/a cappella girl group specialising in original songs and Marketing Selling Points All music is performed a cappella, so no instruments. Can be promoted to arts community, impertinent parodies. Since forming in 2010, we have performed at the Festival of Voices, choirs, music theatre-lovers. toured to Germany to perform at the International A Cappella Festival, and won first place at SingFest - Australia’s leading a cappella festival and competition. We have also performed at Clips For Love or Money Trailer: https://www.youtube.com/watch?v=JXQYNn4uon8 Clip from festivals around Australia, including Port Fairy Folk Festival, Perth’s FringeWorld, Adelaide previous work “Desperate and Dateless” at Melbourne Cabaret Festival 2014: https://www. Fringe and Melbourne Cabaret Festival. We want to tour to regional areas, to reach new youtube.com/watch?v=J3sCiR7H15Y audiences and connect with a wider range of people. Marketing Materials Review: https://www.theaustraliatimes.com/fringeworld-2017-for-love-or-money-by-ginger- Written by Jane Patterson, Laura Burzacott, Danielle O’Malley, Stefanie Jones and-tonic-5-stars/ , Facebook: https://www.facebook.com/gingerandtonicmusic/ ,

Directed by Laura Burzacott Promotional Images https://www.dropbox.com/sh/y6j9x4o9p2rp2yi/AAD_5ZJ8xeZuV5JqHZXetRoNa?dl=0

Creative Team Cast: Laura Burzacott, Stefanie Jones, Danielle O’Malley, Jane Patterson. Musical Director/ Community Engagement Yes, we can offer workshops to high school aged girls, on a cappella singing and female Composer Jane Patterson. Choreographer Stefanie Jones. Activities celebration.

Artform Cabaret Content Warning Yes. Strong language, sexual references.

Marketing Tagline Four gals, hoping to find success and make big bucks in this dog-eat-dog world!

Synopsis The G&T girls are still struggling in love, but that’s not going to stop them from being the /BUDGET AND FEES awesome women that they are. They have big ideas, huge ideas, to make big bucks! Or do they...? Budget Category Tour Ready - production has completed a premiere season and is now seeking presenters to build a tour and source tour funding, if required. Using their powerful voices and tight harmonies, this time the girls are pitching in more ways than one, hoping to find success in this dog-eat-dog world. Remount Cost $ 3684

Each with their own unique pitch, the girls take the audience on a journey through their Weekly Fee $ 7013 ambitions, from humble food dreams and trivia-themed weddings, to new age activewear and embryo-freezing empires. In the end, it is the strength of female friendship that wins out. Per-Performance Fee $

Specialising in original songs as well as cheeky parodies, a cappella girl group Ginger and Tonic Royalties % rely solely on their voices to create their unique sound. The four girls have their audiences transfixed with their superb harmonies, and leave them in stitches with their wicked humour. Describe your APRA obligations if applicable Short Review “Ginger and Tonic is a quartet of incredible female talent showcasing some of the most superb vocal skills you will ever encounter. Faultless acapella harmonies intertwine with original song Budget notes stylings and cheeky parodies that make for one of the slickest, smartest and sassiest cabarets of the festival.”

- The Australia Times, on “For Love or Money”, FringeWorld Perth 2017”

Availability 01/07/2017 - 01/12/2017

Duration of show in minutes 60 Not including interval

Does the show have an No interval, and if so, how long?

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/TECHNICAL INFORMATION /NOTES

Technical Rating D (A, B, C, D,) as per NTS Format

Technical Links

Theatre Formats Any

Bump‑in Time 1 Bump‑out Time 1

In‑Brief Lighting Requirements

In-Brief Audio Requirements We provide our own 4 wireless, handheld microphones. We require a mixing desk with minimum of 4 inputs, reverb effect

In-Brief Staging Requirements Describe your set and construction. How does it sit on stage? Is a fly We don’t have any set pieces. We require two small tables at each side of the stage. system required? Any technical warnings? Do you require an orchestra pit? Piano? Smoke/ strobe machine etc?

Stage Dimensions MIN. STAGE WIDTH MIN. STAGE DEPTH MIN. STAGE HEIGHT MIN. WING SPACE (metres) (metres) (metres) (metres) 5 4 0.3 0

Venue Crew Requirements LIGHTING CREW SOUND CREW STAGE CREW TOTAL VENUE CREW (hours) (hours) (hours) (hours) 4 0 0 4

Crew Notes

Transport Notes

Industry Reference David Read | Australian Cabaret Enterprises | 0402 099 222 | [email protected]

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Performance and Uncanny Valley was first created during a PUNCTUM SEEDPOD Residency in Castlemaine in UNCANNY VALLEY Touring History August 2017. The work was presented in an informal showing at The Bendigo Old Firestation. EMILIE BLOOM AND NICCI WILKS Presented by PUNCTUM ARTS INC. Number of People in 2 Touring Party

Touring Personnel Emilie Bloom | Performer | yes Nicci Willks | Performer | yes

/MARKETING AND COMMUNITY ENGAGEMENT Contact Person Emilie Bloom

Email [email protected] Key Audience and Cabaret, burlesque, circus, vaudeville and music theatre audiences. Fans of Mary Popins,Wizard Marketing Notes Of Oz, Charlie Chaplin, Buster Keaton, Carnivale (TV Series), Cabaret the musical, Moulin Rouge, Contact Phone 0477 777 639 City of Lost Children and Tim Burton. Local dance, drama and circus schools. The show has no spoken language so will suit hearing impaired audiences and people from non english speaking Organisation Website backgrounds? 40+ audiences enjoy the old world charm and vintage music. 18-40’s enjoy the dark, quirky and playful nature of the show. Suitable for a family audience 12+. State VIC Marketing Selling Points Uncanny Valley is a dark, beautiful, arresting work by brilliant artists with an original vision and History and Background Uncanny Valley is led by women and has a strong feminist understanding. In making work Emilie innovative approach to Vaudeville and dark clowning. Physical Comedy at its best, beautiful and Nicci rigorously question what meaning is being generated about women and gender, and costume artistry, unique soundtrack. On the back of successful works such as SHIT and ANIMAL what stereotypes we challenge or buy into. by Powerhouse duo Wilks and Dee, Uncanny Valley is a unique approach to the ridiculous. Emilie and Nicci want to tour work that garners the attention of the international theatre scene but more then than taking Uncanny Valley to international arts festivals, they want to tour and Clips https://vimeo.com/180480252 breath life into the tiniest corners of regional Australia. Both performers have always made work designed for the regions and have a strong connection to Regional Victoria. https://vimeo.com/202903989

Written by Emilie Bloom and Nicci Wilks Marketing Materials http://castlemainefestival.com.au/events/uncanny-valley/

Directed by Susie Dee http://thelongpigs.com/nicci-wilks.html

Creative Team Emilie Bloom: Performer http://www.punctum.com.au/residencies/seedpod/uncanny-valley

Artform Comedy http://www.porcelainpunch.com/Porcelain_Punch/Home.html Marketing Tagline Hollywood, horse chases, villains and vengeance, a tragic black comedy Promotional Images https://www.dropbox.com/home/UNCANNY%20VALLEY Synopsis Created By Emilie Bloom and Nicci Wilks, Directed by Susie Dee Community Engagement Both Emilie and Nicci work as Melbourne Clown Doctors with The Humour Foundation. These clowns bring a beautiful nostalgic quality to a dark tale that imitates a tragic real world: Activities Both are highly skilled performers and teachers in Circus Arts and can offer a variety of skill Hollywood, Colonial Australia to Europe, to Grim Fairytales. base workshops for Children and Adults, including but not limited to : Clown, Puppetry, German Performers dressed in period costume, white face clown makeup and grotesque noses, draw Wheel, Hula Hoop, Acrobatics, Trapeze and Aerials. influence from the likes of ‘Freaks’ ‘The Wizard Of Oz’ and ‘Mary Poppins’. Content Warning No Bloom and Wilks build a charming, nostalgic, vintage world and use it to address issues which are sharply relevant today. This is the awakening of a desperate mother and child who desire it all, but at what cost? /BUDGET AND FEES

Budget Category Tour ready 2018

Short Review “The ideas in this first outing are rich and they are fertile ground for continued development in Remount Cost $ 4500 this grotesque and potentially divisive, yet hilarious, form.” Weekly Fee $ 4650 Josiah Lulham audience member at Uncanny valleys initial showing at Bendigo’s Capital Theatre AUGUST 2017. Per-Performance Fee $

Availability 01/01/2018 - 01/01/2019 Royalties % 2 Duration of show in minutes 60 Describe your APRA Not including interval obligations if applicable Does the show have an No Budget notes interval, and if so, how long?

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/NOTES /TECHNICAL INFORMATION

Technical Rating D (A, B, C, D,) as per NTS Format

Technical Links

Theatre Formats Proscenium Arch, Black Box, Thrust, Flat Floor, Hall and Outdoors

Bump‑in Time Bump in and open Bump‑out Time 2 same evening

In‑Brief Lighting Can use a standard lighting rig. LX plan supplied. Requirements

In-Brief Audio Requirements Standard in-house sound system. Input for a computer.

In-Brief Staging Requirements Stage: Flat, level stage. Extension lead with power is required for onstage. Describe your set and construction. Rigging: One single point. NOT a live load. How does it sit on stage? Is a fly system required? Any technical 1 x LX technician. warnings? Do you require an orchestra pit? Piano? Smoke/ strobe machine etc?

Stage Dimensions MIN. STAGE WIDTH MIN. STAGE DEPTH MIN. STAGE HEIGHT MIN. WING SPACE (metres) (metres) (metres) (metres) 0 4 6 1

Venue Crew Requirements LIGHTING CREW SOUND CREW STAGE CREW TOTAL VENUE CREW (hours) (hours) (hours) (hours) 0 0 0 16

Crew Notes 1 SND technician

Transport Notes 1 Tonne Van

Industry Reference Jude Anderson | Punctum Arts Inc. | 0439318307 | [email protected]

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Performance and Butterfly Club, 2015, six shows LA PETITE MORT Touring History Paris Cat Jazz Club, 2016-17, two shows NEO RADIO Dr Sugar, 2016, one show

Number of People in 7 Touring Party

Contact Phone 0408 907 066 Robbie Finch | Double bass | Yes

Organisation Website neoradiocabaret.wordpress.com Chloe Dempsey | Drums | Yes

State VIC

History and Background Neo Radio reimagines 1940s radio drama into genre-bending comedy cabaret, with strong /MARKETING AND COMMUNITY ENGAGEMENT ‘music hall’ and productions featuring stunning singers and a live band. Our troupe formed in 2015 and have loved devising our debut productions La Petite Mort and Cactus County for Key Audience and La Petite Mort offers a crowd-pleasing combination of fantastic, contemporary music - with performances at the Butterfly Club, Paris Cat Jazz Club, Melba Spiegeltent and beyond. We are Marketing Notes unique jazz arrangements and close harmonies - alongside a witty script, that is gently bawdy now writing our third production. Our shows are highly transportable and we are looking to and sometimes very silly. The show has a polished but irreverent ‘music hall’ style that appeals sharing the fun further afield. to all ages. It’s all about great music and lots of laughter. Key audiences include lovers of film noir, contemporary music, jazz, radio plays and all things vintage, or ‘vintage revival’. Written by Suzanne Barton Marketing Selling Points Audiences respond well to the film noir style and the intrigue of the revived radio play format. Directed by Suzanne Barton The quality of the music and close harmonies has been another key draw card. Venues could reach out to older audiences who recall the golden era of radio plays and young folk who love Creative Team Singers - Yvette Hearn, Sam Qualtrough, Suzanne Barton | Announcer - Paul David-Goddard | phenomenons like ‘Postmodern Jukebox’. Dress up nights - where audience members can play Band - Thomas Byrne (piano), Robbie Finch (double bass), Chloe Dempsey (drums) at being a detective or femme fatale - have also proven popular.

Artform Cabaret Clips https://www.youtube.com/watch?v=UhrtYxq53Bs

Marketing Tagline Pop, rock and rap reimagined in classic radio play style https://www.youtube.com/watch?v=zJIQDFeM8iM Synopsis Neo Radio presents La Petite Mort: pop, rock and rap reimagined by sultry singers and a live Marketing Materials https://www.dropbox.com/sh/l9fc36dh40kom0z/AAAhU59kVbrjeDkXya3o6Z-Ia?dl=0 jazz band. Don your fedora for a film noir cabaret in classic radio play style. La Petite Mort, which premiered at the 2015 Melbourne Fringe Festival, transports music by Promotional Images https://www.dropbox.com/sh/l9fc36dh40kom0z/AAAhU59kVbrjeDkXya3o6Z-Ia?dl=0 artists like Nick Cave, Amy Winehouse and Taylor Swift to the steamy streets of jazz land. Community Engagement We can offer vocal workshops or master classes for all ages. The dastardly escapade features sultry singers Sam Qualtrough, Yvette Hearn and Suzanne Activities Barton with Thomas Byrne (piano), Robbie Finch (bass) and Chloe Dempsey (drums). The dulcet tones of Paul David-Goddard provide narration for this tongue-in-cheek whodunnit. Content Warning Yes. Minimal double entendre and similar humour. French for “the little death”, la petite mort is an idiom for orgasm. Neo Radio invites you to indulge in an evening of devious delight. /BUDGET AND FEES Short Review “Spine-tingling perfection.” ArtsHub. Budget Category Ready to Go - available for one-off performances, no remount required “A night of musical heaven.” Planet Arts. Remount Cost $

“Havent had so much fun in the dark in a very long time.” Weekly Fee $

“Just what the doctor ordered; a necessary tonic in this drab world.” Per-Performance Fee $ 3500

Availability 01/07/2017 - 01/12/2019 Royalties % 5% of gross box office (negotiable)

Duration of show in minutes Describe your APRA 60 Dramatic context license (4% of gross box office) Not including interval obligations if applicable

Does the show have an Budget notes No interval, and if so, how long?

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/NOTES /TECHNICAL INFORMATION

Technical Rating D (A, B, C, D,) as per NTS Format

Technical Links https://www.dropbox.com/s/hks51qjqdwe3wbh/La%20Petite%20Mort%20technical%20 specifications.docx?dl=0

Theatre Formats Any (indoor)

Bump‑in Time 2 Bump‑out Time 1

In‑Brief Lighting Basic wash Requirements

In-Brief Audio Requirements 3 microphones (can provide own) keyboard input

In-Brief Staging Requirements Describe your set and construction. How does it sit on stage? Is a fly There are no special stage requirements, as the show is very adaptable. A tuned piano is system required? Any technical appreciated, if available. warnings? Do you require an orchestra pit? Piano? Smoke/ strobe machine etc?

Stage Dimensions MIN. STAGE WIDTH MIN. STAGE DEPTH MIN. STAGE HEIGHT MIN. WING SPACE (metres) (metres) (metres) (metres) 7.5 2.5 0 0

Venue Crew Requirements LIGHTING CREW SOUND CREW STAGE CREW TOTAL VENUE CREW (hours) (hours) (hours) (hours) 0 2 0 2

Crew Notes We are able to set up our own sound system if need be, but a technician is ideal.

Transport Notes We require, at minimum, an eight seater people mover. Plane travel is possible.

Industry Reference Halley Jean Buckham | Melba Spiegeltent | 03 9676 0300 | [email protected]

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THE GREAT Performance and The Great Australian Disclaimer (I’m not racist but....) was first performed in La Mama Theatre Touring History in Carlton as part of their ‘Spring Explorations’ in 2015. This was immediately followed by a AUSTRALIAN regional tour of the Mallee which I produced with two sellout shows in Swan Hill, as well as performances in Robinvale and Cohuna. The play was presented in Swan Hill and Robinvale by DISCLAIMER (I’M NOT Swan Hill Performing Arts, which was then managed by Karen Doyle. The Cohuna performance was presented by Kirsty Orr, Arts and Culture Assistant for the Gannawarra Shire Council.

State VIC

History and Background Andrew R Kelly is an emerging Swan Hill theatre maker who has built up an enormous following /MARKETING AND COMMUNITY ENGAGEMENT in Northern Victoria. As a regionally based writer / producer, he understands the notion that country people relate best to an authentic regional voice in their theatres. His plays are written Key Audience and This play will appeal to those interested in social justice, mental health, multiculturalism, and produced with a regional audience in mind. We would like to pitch The Great Australian Marketing Notes diversity and.... Human Resources! Disclaimer (I’m not racist but...) to attract approximately 12+ presenters to participate in a Victorian Tour spanning three weeks. The comedy, authentic language, contemporary/topical storyline and the characters make it accessible to new theatre audiences, secondary school groups, regular theatre goers, metro and Written by Andrew R Kelly regional audiences. In the previous season, the play attracted a high percentage of men, so it may appeal to sporting clubs and other groups. Directed by Paul Fergus Morris The Great Australian Disclaimer is a conversation starter, and the themes will continue to be Creative Team Andrew R Kelly - Writer/Producer, Paul Fergus Morris - Director, Andrew Hondromatidis (Ivor), discussed well after the play has finished. Eliza Wood (Merryl), Patrick Durnan Silva (4 male applicants) and Honor Wolffe (3 female applicants) Marketing Selling Points The key aspects of The Great Australian Disclaimer (I’m not racist but...) are the controversial and relevant themes of casual racism, and prejudice woven through the script. Artform Comedy Venues could: Marketing Tagline A comedy for us all to have a good hard look at ourselves - “the perfect play for our times.” - create a targeted social media campaign using the provocation “I’m not racist but..” - set up local media interviews with the playwright and actors. Synopsis Ivor and Meryl each own 50% of a small, but profitable trading company. Their company is - direct market to schools, businesses, community groups in the area. growing, and they now need to employ a receptionist in their office. The play looks at Ivor and - media pack will include posters/feature articles/CVs of actors and playwright. Meryl as they interview the different applicants for the position. - host performance workshops for local school or drama groups with the actors.

This seems simple enough, but the complication is each of the eight applicants come from Clips 70 second promo of Regional Tour 2015: diverse backgrounds. The deeper Ivor looks at the applicants, and the deeper he looks within himself, the more prejudice he is discovering. Is he really as bigoted, sexist, narrow minded https://www.youtube.com/watch?v=zb3_AFS9dE0 and racist as he is appearing? Or is he just the same as a lot of other Australians who claim to Full length video: cherish a fair go for everyone? https://www.youtube.com/watch?v=b5HIBa-IGdw Short Review “The temptation to laugh at or with Ivor Azzanego is difficult to resist, even though the play deals with serious issues that are no laughing matter. The play is an accurate depiction of the Marketing Materials Following is a link to promotional posters, as well as articles from newspapers where The Great daily hypocrisy practiced by people when their attitudes & beliefs regarding gender, sexuality & Australian Disclaimer (I’m not racist but...) toured. Their are also some community comments, race are challenged. It presents a clever structure & ends with a delightful & unexpected twist.” and testimonials from the presenters from shows in Cohuna and Swan Hill. - Stage Whispers https://www.dropbox.com/sh/ueqmv49v09mm8kr/AACGSliXtWTXTbKACin0Rucla?dl=0 Availability 22/09/2018 - 12/10/2018 Promotional Images https://www.dropbox.com/sh/o7orjf4ylxftdcd/AADUyfnSXGrvLl-WO4XY3lsCa?dl=0 Duration of show in minutes 51 Community Engagement The cast and crew are keen to offer drama workshops to local schools or community groups, Not including interval Activities such as youth theatre ensembles etc. Does the show have an No Content Warning Yes. The Great Australian Disclaimer contains some coarse language. It is best suited to an interval, and if so, how long? audience aged 15 and over.

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/NOTES /BUDGET AND FEES

Budget Category Tour Ready - production has completed a premiere season and is now seeking presenters to build a tour and source tour funding, if required.

Remount Cost $ 3500

Weekly Fee $ 11150

Per-Performance Fee $

Royalties % 10

Describe your APRA obligations if applicable

Budget notes

/TECHNICAL INFORMATION

Technical Rating D (A, B, C, D,) as per NTS Format

Technical Links https://www.dropbox.com/s/5odmqp87g7znbxg/Technical%20Specs%20The%20Great%20 Australian%20Disclaimer%20%28I%27m%20not%20racist%20but...%29.docx?dl=0

Theatre Formats Production will work in any of the above formats.

Bump‑in Time 2 Bump‑out Time 1

In‑Brief Lighting From a technical perspective, its basically white wash on stage as a minimum, and centre Requirements white focus is desirable but not essential. The only other requirement is auditorium lights up and down at the beginning and end of the play, again desirable but not essential. If lighting in the venue is available, it would be a requirement to have the operator on site for the bump in period.

In-Brief Audio Requirements There are no audio requirements for The Great Australian Disclaimer (I’m not racist but...). There are no sound effects, or music to add extra effect. The play engages the audience with the dialogue and interaction of the characters.

In-Brief Staging Requirements The staging of the Great Australian Disclaimer (I’m not racist but...) is totally uncomplicated. Describe your set and construction. How does it sit on stage? Is a fly The play can be performed in any venue either on a stage, or on the floor. The play is set in an system required? Any technical ‘office,’ with a basic set of one table and two chairs. It is the situations, dialogue and interaction warnings? Do you require an between the characters which engage the audience, and then holds their attention. orchestra pit? Piano? Smoke/ strobe machine etc?

Stage Dimensions MIN. STAGE WIDTH MIN. STAGE DEPTH MIN. STAGE HEIGHT MIN. WING SPACE (metres) (metres) (metres) (metres) 3 3 3 3 (preferred)

Venue Crew Requirements LIGHTING CREW SOUND CREW STAGE CREW TOTAL VENUE CREW (hours) (hours) (hours) (hours) 2 0 0 2

Crew Notes There are no additional crew notes. In the words of Karen Doyle, Swan Hill Performing Arts and Venue Director, “This was the best play that I have ever worked on from the bumpin / bumpout aspect. . All that is needed is access to the venue 1 1/2 hrs prior to show time and the cast set it up and its all ready to go....it couldnt get much easier than this. Bumpout is just as simple and everything is sort 30mins after the performance finishes.”

Transport Notes The cast and crew and set are easily transported. We would use two cars to move between performances. If needed, the set and production could travel comfortably by plane.

Industry Reference Karen Doyle | Formerly Performing Arts And Venue Director, Swan Hill Rural City Council | 0428 078 289 | [email protected]

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Duration of show in minutes A PRUDENT MAN 50 Not including interval

LAB KELPIE Does the show have an No interval, and if so, how long?

Performance and 2016 Melbourne Fringe Festival, Arts House, North Melbourne (premiere) 12 shows Touring History 2017 Fringe World, The Shambles, Perth 6 shows 2017 - Elysium Theatre, Brisbane - 2 shows 2017 - Courthouse Theatre, Stratford - 1 show

Contact Person Adam Fawcett Number of People in 2 Touring Party Email [email protected] Touring Personnel Lyall Brooks | Performer | Yes Contact Phone 0409 234 618 Adam Fawcett | Producer / SM | Yes Organisation Website labkelpie.com

State VIC /MARKETING AND COMMUNITY ENGAGEMENT History and Background Lab Kelpie is dedicated to the production and touring of new work by Australian playwrights. Key Audience and - Socially conscious audiences plugged into the 24-hour news cycle, national/political issues We actively seek out works that engage audiences by interrogating with intelligence and vigour Marketing Notes and/or a fascination/admiration/hatred of people like Donald Trump and Pauline Hanson. how relationships, power, family, love and politics function in the twenty first century. - 18 to 35 year olds who are attracted to work that represents their own frustration with 21st Touring allows us to maintain a sustainable arts practice where we can support artists, remain century politics strong advocates of new Australian writing and deliver exciting contemporary work. - 35 to 70 year olds who have a greater understanding and engagement in the history of conservative politics Written by Katy Warner - Right wing audiences who support the conservative side of politics and are intrigued by the Directed by Katy Warner premises of the show - Left wing audiences who want to see a work which supports their world view Creative Team Performed by Lyall Brooks / Produced by Adam Fawcett There is a huge audience demand for this work from the 35+ market who enjoy a ‘meatier’ Artform Drama theatre piece and recognising the lines of dialogue taken from political figures which are weaved throughout the performance, and those under 25 who are more left-leaning and Marketing Tagline A darkly comedic political thriller that explores what it means to be right...in more ways than seeking out work that explores the recent rise of conservatism around the world, as led by one. Trump, Brexit and now even our own Cory Bernardi. Synopsis A well-groomed, confident-looking man enters the room and sits on an expensive-looking Marketing Selling Points - The major hook is the topical nature of the piece and the obvious relevance this holds for all chair. A bright light shines on him. Theres water and a glass on a table. Perhaps this is an types of audiences, which venues should exploit in their marketing material. Venues should investigation. What has he done wrong? highlight the political nature of the work, the fact it is inspired by real events and reference A speculative piece inspired by real life political events, the main character is an amalgamation political figures such as Trump, Hanson and Abbott to help build interest and intrigue. of recent history’s conservative politicians (think Trump, Hanson, Abbott) - their slogans, - We also recommend describing the genre of this work as a “darkly comical political thriller”. mannerisms and headlines. It is neither cheap imitation nor partisan satire, rather a thought- provoking exploration of how far an ideology can stretch before it warps into something - Venues should take full advantage of the show’s awards and strong reviews (including two unrecognisable and untenable, and who ultimately bears responsibility for the actions of the five-star reviews). elected few. Clips SHORT TEASER: https://vimeo.com/200167641 A darkly comedic political thriller, A Prudent Man was the critical and audience hit of the 2016 Melbourne Fringe Festival, winning both the coveted Peoples Choice Award and WA Tour FULL ARCHIVE OF SHOW (taken at 2016 Melbourne Fringe Festival) - password is: “labkelpie”: Ready Award from over 400 productions, and was nominated for Best Performance. It has https://vimeo.com/187887173 since enjoyed a sold-out run at the 2017 Fringe World Festival in Perth, was nominated for a 1. Additional hi-res production and marketing images: https://www.dropbox.com/sh/ Green Room Award for Best New Writing and has been selected to appear at the 2017 United Marketing Materials tnxc45hv2tffyii/AACQ5_pTrZ1ROkPGfEc48qbKa?dl=0 Solo Festival in New York. 2. Official Lab Kelpie website: http://www.labkelpie.com Short Review “Fringe can sometimes be a euphemism for ‘low rent’. Not so for Lab Kelpie, which in my humble opinion is one of Australia’s most exciting independent theatre companies on the 3. Reviews of A Prudent Man from premiere season at 2016 Melb Fringe Festival: https://www. rise. This show is as slick as a political spin doctor, the text by Katy Warner as assured as it dropbox.com/sh/n0ijma1fj5ex66h/AACishzs2JCLDK9CGBUd1_mda?dl=0 is incisive. This is theatre at the very top of its game: complex, enlightening and thoroughly 4. Official Press Release from Fringe World PERTH: https://www.dropbox.com/ accomplished.” - The Music sh/930p9gd5gmcgfor/AAAWEABI_mXXlzaHmxA8U9Xya?dl=0 Availability 01/06/2017 - 31/12/2019 Promotional Images https://www.dropbox.com/sh/762j5dfz3w1s6nm/AAD145YToFB6QW7dg_db8JFwa?dl=0

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Community Engagement We have created detailed Community Engagement and Education Menus, available to Crew Notes - Simple bump in carried out by touring party Activities presenters and teachers, including options such as monologue masterclasses and writing or - 1x general tech with LX and sound knowledge required the bump in/tech, performance and playbuilding workshops, run by experienced, qualified facilitators. bump out One workshop option incorporates a presentation by participants in an “Act 2” of a dedicated A Prudent Man performance. Transport Notes Set travels with cast in tour vehicle We have also created comprehensive Teachers Resources kits, including pre- and post-show Industry Reference Xanthe Beesley - Program Produce | Melbourne Fringe Festival | 0418 791 960 | activities and practical exercises, handouts and lesson suggestions. [email protected] Presenters can access these resources here: http://bit.ly/2kv2rxk

Content Warning Yes. Mild coarse language and adult themes. /NOTES /BUDGET AND FEES

Budget Category Tour Ready - production has completed a premiere season and is now seeking presenters to build a tour and source tour funding, if required.

Remount Cost $ 4950

Weekly Fee $ 5812

Per-Performance Fee $

Royalties % 8

Describe your APRA APRA licence is approved and the fee is covered by Lab Kelpie. obligations if applicable

Budget notes Touring budget figures are final and will not be funding dependent

/TECHNICAL INFORMATION

Technical Rating D (A, B, C, D,) as per NTS Format

Technical Links http://www.labkelpie.com/touring

Theatre Formats Suitable to most theatre formats.

Bump‑in Time 2 Bump‑out Time 1

In‑Brief Lighting Suitable to most theatre formats. Requirements

In-Brief Audio Requirements Basic audio input for iPod.

In-Brief Staging The location and context of the piece is abstract and ambiguous; it is at once luxurious and Requirements hostile, chrome-shiny and gritty. This aesthetic suits a simple space of any size. There is the Describe your set and construction. potential for this piece to utilise un-developed, found or otherwise interesting spaces. Please How does it sit on stage? Is a fly chat to us about this if you have something in mind. system required? Any technical warnings? Do you require an SET: orchestra pit? Piano? Smoke/ strobe machine etc? A simple black executive chair, a small modern side table, a carafe of water and a glass. WARDROBE REQUIREMENTS: Basic dressing area. Iron and ironing board appreciated.

Stage Dimensions MIN. STAGE WIDTH MIN. STAGE DEPTH MIN. STAGE HEIGHT MIN. WING SPACE (metres) (metres) (metres) (metres) 3 3 3 0

Venue Crew Requirements LIGHTING CREW SOUND CREW STAGE CREW TOTAL VENUE CREW (hours) (hours) (hours) (hours) 0 0 4 4

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Does the show have an No ONSTAGE DATING interval, and if so, how long? BRON BATTEN Performance and North Melbourne Town Hall 2016, 7 performances The Festival of Live Art Arts House Melbourne Touring History North Melbourne Town Hall 2016, 11 performances The Melbourne Fringe Festival. Nominated for Best Performance and Winner of The Adelaide Fringe Touring Award The Shambles, Perth Cultural Centre 2017, 6 performances for Perth Fringe World Festival- Nominated Best Theatre Basement Theatre 2017, 5 performances Auckland NZ BATS Theatre 2017, 5 performances Wellington, for the New Zealand Fringe Festival Contact Person Bron Batten The Speakeasy, Gluttony 2017, 6 performances The Adelaide Fringe Festival Email [email protected] Number of People in 2 Contact Phone 0412 928 679 Touring Party

Organisation Website bronbatten.com Touring Personnel Bron Batten | Performer | Yes

State VIC Technical Operator | Production management | person needs to be confirmed pre-tour

History and Background I am an independent theatre artist with over 10 years of experience making, curating and presenting my work nationally and internationally. /MARKETING AND COMMUNITY ENGAGEMENT I have worked with artists such as post, The Sisters Grimm, Field Theory, Mish Grigor and Aphids and organisations including The Melbourne Theatre Company, The Malthouse, Arts Key Audience and The demographic for this work is anyone in the key dating age bracket ie. 20-40 years old. House, Performance Space, Vitalstatistix and The Wheeler Centre. Marketing Notes Though I have had audiences both older and younger than this. Even if you’ve been married for 30 years you can identify with the vulnerability, risk and awkwardness of a first date. Touring is very important to me and to this work in particular, as it needs new audiences to re-invigorate and re-imagine the form and content of the show. Marketing Selling Points With apps and websites like OK Cupid, Tinder and Grindr dating is in the cultural consciousness in a very real way. Written by Bron Batten Because I date someone from the audience, that roots the show in the community that it is Directed by Gary Abrahams performed in. Apart from that, it is:

Creative Team Bron Batten, Performer and Devisor G - Award winning

Artform Drama - Different every night dependent on the participant - Live dating is a great hook for media- I’ve had print, online and radio coverage for this tour so Marketing Tagline Watch Bron Batten go on actual first dates- live onstage! far Synopsis Onstage Dating is a performative dating experiment, during which I go on dates with audience - Improvised, accessible and entertaining members live onstage. Clips Trailer for Onstage Dating: https://www.youtube.com/watch?v=r8otnzx6OBg&t=6s It’s a live-art work which pushes the boundaries of audience participation to the extreme, as my date and I embark on an intimate exchange that requires a huge amount of trust, vulnerability Trailer for Sweet Child of Mine https://www.youtube.com/watch?v=1nQwutuVEyI and emotional exposure on both our parts. Marketing Materials https://www.dropbox.com/home/Showbroker%20Application%20support%20material The structure of the work is based around American Psychologist Arthur Aron’s famous 36 Questions study, which proposes the hypothesis that there are a series of questions a couple Promotional Images https://www.dropbox.com/home/Showbroker%20Application%20support%20material can answer together which accelerate the falling in love process. Community Engagement I can offer classes and workshops in drama, improvisation and clown for children or adults. As my date and I answer questions from this study, we complete the rituals associated with a Activities I have studied clown in Chicago and Paris and I have also taught dance and drama at John ‘traditional first date’- having wine and cheese, playing a game and eventually ending up in bed Marsden’s Candlebark school. together. Content Warning Yes. Mild nudity and bad language. I was inspired to pursue the idea due to the prevalence of online dating as the predominant way people search for and meet their significant others in the twenty first century. I started researching the work whilst on residence in Paris last year and since then I have gone on over 50 blind dates with strangers from the internet as part of my research. /BUDGET AND FEES

Short Review “Batten has crafted a masterpiece, which thrives on spontaneous responses. Consistently Budget Category Tour Ready - production has completed a premiere season and is now seeking presenters to hilarious, and surprisingly vulnerable, Battens bravery would win over even the most cynical of build a tour and source tour funding, if required. audience members” - Buzzcuts Remount Cost $ 700 Availability 01/10/2017 - 30/09/2018 Weekly Fee $ 6500 Duration of show in minutes 70 Not including interval Per-Performance Fee $

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/NOTES Royalties % 10

Describe your APRA obligations if applicable

Budget notes

/TECHNICAL INFORMATION

Technical Rating D (A, B, C, D,) as per NTS Format

Technical Links Simple requirements- see below

Theatre Formats Black box, cabaret space, circus tent with rake or Spiegeltent

Bump‑in Time 2 Bump‑out Time 2

In‑Brief Lighting Basic rig, wash and blue LED state with optional specials Requirements One data projector and projection surface

In-Brief Audio Requirements 2 x headset mics One hand held mic (corded or wireless- also mics are dependent on size and noisiness of the venue) PA and desk

In-Brief Staging Requirements Describe your set and construction. One fold out sofa bed couch How does it sit on stage? Is a fly system required? Any technical One small table and chairs warnings? Do you require an orchestra pit? Piano? Smoke/ strobe machine etc?

Stage Dimensions MIN. STAGE WIDTH MIN. STAGE DEPTH MIN. STAGE HEIGHT MIN. WING SPACE (metres) (metres) (metres) (metres) 4 3 0 2

Venue Crew Requirements LIGHTING CREW SOUND CREW STAGE CREW TOTAL VENUE CREW (hours) (hours) (hours) (hours) 0 0 0 0

Crew Notes

Transport Notes If the couch is supplied by the venue the production can travel by plane. If not, then can be transported in a ute with furniture in the back.

Industry Reference Gideon Obarzanek | Melbourne Festival | 0412 484 772 | [email protected]

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Does the show have an No MOTHER’S RUIN: interval, and if so, how long? A CABARET ABOUT GIN Performance and 2016 SEASONS: Touring History MILKE Adelaide Cabaret Festival - SOLD OUT before opening The Butterfly Club, Melbourne Cabaret Festival - SOLD OUT Festival of Voices - SOLD OUT 2017 SEASONS: Sydney Festival - SOLD OUT 2 - 6 shows (550 capacity) Contact Person Laura Milke-Garner Perth Fringe World - February 2017

Email [email protected] Adelaide Fringe Festival/Garden of Unearthly Delights - March 2017

Contact Phone 0418 343 255 Ten Days on the Island - March 2017 http://www.mothersruincabaret.com/upcoming-shows/ Organisation Website milke.com.au Number of People in State VIC 3 Touring Party History and Background Laura Milke Garner has been working as an independent producer for 20 years. In 2008, she Touring Personnel Maeve Marsden | Cast | Yes established her own company MILKE Performance Industry Services to work with artists to produce and tour productions locally and nationally. MILKE has creatively developed and Libby Wood | Cast | Yes produced major work for Brisbane Power House, Melbourne Theatre Company, Sydney Opera House, Brisbane Festival, Melbourne International Comedy Festival, Adelaide Cabaret Festival, Jeremy Brennan | Cast | TBC Melbourne International Arts Festival, Network Ten, 3RRRFM, Channel 31, The Arts Centre, Melbourne Fringe Festival and Adelaide Fringe Festival. /MARKETING AND COMMUNITY ENGAGEMENT Written by Maeve Marsden

Directed by Anthea Williams Key Audience and Audiences who LOVE gin and there is LOTS of them. Gin is the new boutique beer and audience Marketing Notes members are fierce about their G&Ts! People who love cover songs, good cabaret and fun night Creative Team STARRING Libby Wood, Maeve Marsden, Jeremy Brennan. Co/writer/Researcher - Elly Baxter. out. Producer - Laura Milke-Garner. Marketing Selling Points The history of Gin. The love of Gin. We have access to gin sponsorship to offer audience Artform Cabaret members a free drink.

Marketing Tagline A unique cabaret full of soulful songs and sinful spirits. Clips “I’ve drunk every gin” https://youtu.be/FGFfzjBb8hI

Synopsis A collaboration between Elly Baxter (The Ginstress), acclaimed Musical Director, Jeremy Promo reel - Sydney Festival 2017 https://www.youtube.com/watch?v=hwnKvjIQieA Brennan, and Lady Sings it Better’s Maeve Marsden and Libby Wood, Mother’s Ruin: A Cabaret Marketing Materials Bio/media release can be found on the website: mothersruincabaret.com about Gin explores the history of gin, incorporating gin tastings and a storytelling experience unlike any other. Facebook: facebook.com/mothersruincabaretau Through story and song, heaving harmonies and tipsy candour, we stumble and soar Twitter: @mothersruincab through songs of love and mothers, gin and secrets, through 18th Century London, New York speakeasies, colonial India and the jungles of Peru, via sailors and fallen women, bootleggers Instagram: @mothersruincab and master distillers. Promotional Images https://www.dropbox.com/sh/kkm8uqacgnrla4x/AAD7s_TpXrqSN9DWw82RGMwea?dl=0 Mother’s Ruin will draw in fans of gin and cabaret but will offer so much more than expected Community Engagement as we dig through the history of the spirit, how it travelled the world and became symbolic of Not at this stage. Activities certain eras and archetypes. Australia is in the middle of a gin craze with consumption rapidly on the rise. Mother’s Ruin looks at the moments in time that led us to this point and features Content Warning No some of Australia’s best new gins. With music originally performed by Amy Winehouse, Nina Simone, The Popes, Merle Haggard, Peggy Lee, Kurt Weil and more. /BUDGET AND FEES

Short Review “Blisteringly entertaining! Marsden and Woods voices blend into a single, warm and bright Budget Category Ready to Go - available for one-off performances, no remount required sound. Its almost as though the excellent childrens show Horrible Histories was made for grown-ups and laced with booze. Not everybody falls in love with gin, but I cant imagine too Remount Cost $ many audience members could resist the charms of Mothers Ruin.” Daily Review Weekly Fee $ Availability 01/06/2017 - 31/12/2018

Duration of show in minutes 60 Not including interval

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/NOTES Per-Performance Fee $ 3800

Royalties % 12

Describe your APRA Theatrical Licence obligations if applicable

Budget notes

/TECHNICAL INFORMATION

Technical Rating C (A, B, C, D,) as per NTS Format

Technical Links

Theatre Formats Any formats

Bump‑in Time 4 Bump‑out Time 2

In‑Brief Lighting Basic full stage open white wash. 2-3 specials Requirements

In-Brief Audio Requirements Good quality PA, stage monitors for vocals and piano 3 Radio HH mics, with 2 STRAIGHT stands and one boom stand

In-Brief Staging Requirements Describe your set and construction. Ideally grand or upright piano. 3 stands with empty gin bottles. How does it sit on stage? Is a fly system required? Any technical No fly system required. warnings? Do you require an orchestra pit? Piano? Smoke/ strobe machine etc?

Stage Dimensions MIN. STAGE WIDTH MIN. STAGE DEPTH MIN. STAGE HEIGHT MIN. WING SPACE (metres) (metres) (metres) (metres) 4 3 0 0

Venue Crew Requirements LIGHTING CREW SOUND CREW STAGE CREW TOTAL VENUE CREW (hours) (hours) (hours) (hours) 1 1 0 2

Crew Notes Minimal time will be required for setting lighting state and sound

Transport Notes Tarago or similar all cast/crew can drive

Set can travel by plane with extra baggage allowance

Industry Reference Toby Sullivan | Malthouse | 03 9685 5165 | [email protected]

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Performance and The first incarnation of Retro Futurismus was presented by Anni & Maude Davey in 2015 for RETRO FUTURISMUS Touring History three weeks (15 shows) at fortyfive downstairs in Melbourne. ANNI & MAUDE DAVEY Brisbanes Wonderland Festival at The Visy Theatre, Brisbane Powerhouse (6 shows). December 2015. In 2016 Anni & Maude Davey presented Retro Futurismus: New World, again at fortyfive downstairs (20 shows). Sydney Festival Season: 6 shows in the Magic Mirrors Spiegeltent in Hyde Park in January 2017.

Number of People in 7 Touring Party

Contact Person Maude Davey Touring Personnel Anni Davey | Performer / Producer / Rigger | Yes

Email [email protected] Maude Davey | Performer / Producer | Yes

Contact Phone 0422 416 498 Anna Lumb | Performer | Yes

Organisation Website Gabi Barton | Performer | Yes Teresa Blake | Performer | Yes State VIC TBC | Assistant Stage Manager History and Background Anni & Maude Davey have been working at the forefront of the independent performance scene in Melbourne for over 25 years. Their skills and experience encompass high-level project and TBC | Technician / LX Operator company management as well as the creation of highly regarded performance. Anni has won numerous awards for her direction of Sarah Wards YANA ALANA shows. Maudes MY LIFE IN THE NUDE, directed by Anni, has garnered national acclaim. With Retro Futurismus their /MARKETING AND COMMUNITY ENGAGEMENT intention is to envigorate and renew the variety world with their unique aesthetic - small-scale, performer-centred, physical, political, and design-lite. Key Audience and This work is aimed at a general adult audience who crave entertainment with punch. This is Marketing Notes capital C Contemporary without the offensiveness. The show is light-hearted and melancholic, Written by Retro Futurismus Company: Anni & Maude Davey, An Lumb, Gabi Barton, Teresa Blake delightfully ridiculous and heart-breaking, all at the same time. Mothers will want to bring their Directed by Retro Futurismus Company teenaged daughters for the underlying messages about empowerment and liberation. The show’s appeal is multifarious, with high level skills, extraordinary image making, amazing feats Creative Team Performer/Creators: Anni & Maude Davey, Anna Lumb, Gabi Barton and Teresa Blake. Lighting and great fun. Designers: Richard Vabre/Paul Lim Marketing Selling Points High level circus skills including Trapeze, hoops and astronauts walking on the walls and ceiling Artform Cabaret mean there are great still images and footage to draw on. There are also multiple opportunities for live performance ‘spots’ at launches and sponsorship events. Marketing Tagline Exhilarating new vaudeville with zero-gravity circus, siren songs and breathtaking performance art Extraordinary ‘performance art’ angles include Teresa Blake wearing a bikini made of bricks. It weighs 50 kilos. Synopsis Anni & Maude Davey, Anna Lumb, Gabi Barton, and Teresa Blake star in this politically charged sampling of pop culture icons. Were hurtling towards something, is it extermination? Evolution? Clips https://youtu.be/yNdGJnem2OE Or Escape? Retro Futurismus takes a can opener to the zeitgeist, examining the position of the body in a post-human, post-affluent future. This is variety with smarts, fiercely entertaining and Marketing Materials https://spaces.hightail.com/space/sdpS5 inflected with melancholy and a yearning we all feel for the future we used to have. Promotional Images https://spaces.hightail.com/space/sdpS5 First presented in 2015 in Melbourne, Retro Futurismus grew out of and was a reaction to the The company can offer one off workshops in: provocative variety/Burlesque explosion of the noughties. The show comprises high level Community Engagement Activities circus skills combined with performance art, song and dance. Silver air-conditioning tubes are Hula hoops beginners to experienced; brought to life, a womans body fuses with a chair and giant cockroaches attempt to elicit signs of intelligent human life. The show always incorporates at least one guest star, providing a local Performance-making; focus. In 2016 the company presented Retro Futurismus: New World, developing and expanding Writing for performance; the repertoire. In 2017 the show is a versatile vaudeville explosion for people who deserve more! Dance beginners to experienced. Short Review “A shape-shifting variety show that nods to the minimalistic future dreamed up in yesteryear as it explores a post-apocalyptic nuclear wasteland populated by robots, roaches, astronauts, Masterclasses in Performance Making; Writing for Performance; Dance and Circus can be aliens and the remaining dregs of the human race always artful and incredibly conceptual.” offered in consultation with presenters. These can be presented in a series over a short or long time frame. Alannah Maher, altmedia.net.au, 30th Jan 2017 Content Warning Yes. Female nudity (non-sexual). Some coarse language. Availability 01/01/2018 - 01/01/2020

Duration of show in minutes 70 minutes single act OR two 45 minute acts (90) with interval Not including interval

Does the show have an Yes. 15 mins minimum. interval, and if so, how long?

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/BUDGET AND FEES Stage Dimensions MIN. STAGE WIDTH MIN. STAGE DEPTH MIN. STAGE HEIGHT MIN. WING SPACE (metres) (metres) (metres) (metres) Budget Category Tour Ready - production has completed a premiere season and is now seeking presenters to build a tour and source tour funding, if required. 4 3 5 0

Remount Cost $ 18250 Venue Crew Requirements LIGHTING CREW SOUND CREW STAGE CREW TOTAL VENUE CREW (hours) (hours) (hours) (hours) Weekly Fee $ 12500 4 12 4 20 Per-Performance Fee $ Crew Notes Stage Crew only required if satellite stages need to be brought in. Sound Operator to be Royalties % 10 provided by presenter. The production tours with LX Operator who calls the SFX cues.

Describe your APRA The show incorporates a sound track, with some original music and some music which is subject Transport Notes For road transport: 1 x 1 tonne van and 1 x 8 seater people mover. obligations if applicable to licensing through APRA. Interstate travel requires freighting 1 x 100 kilo road case. All show personnel to have 3 items of Budget notes check in baggage. (Qantas provides free instrument travel to APRA members, 3 in company). Industry Reference Marylou Jelbart | fortyfive downstairs | 03 9662 9966 | [email protected] /TECHNICAL INFORMATION /NOTES Technical Rating B/C (A, B, C, D,) as per NTS Format

Technical Links

Theatre Formats Flexible performance that can be adapted to proscenium arch or black box or flat floor. However rigging for aerials is required.

Bump‑in Time 10 Bump‑out Time 2

In‑Brief Lighting Technical specifications are being prepared currently and will be available March 2017. Requirements Rough LX Specs: Bright general wash and Cool general wash with LED pars or equivalent Satellite stage lighting (general bright) Trapeze special 2 x Astronaut ‘specials’ 3 x auditorium ‘specials’ Follow Spot UV unit (provided) Laser effects unit (provided) 4 x ‘movers’

In-Brief Audio Requirements 2 x head set radio mics 2 x hand held radio miss 3 x DI’s for Cello, Loop pedal and keyboard. Cello can be miked with SM58 or equivalent. The show requires a good House system with fold back and subs. Sound (excluding miss) is operated from a MacBook via Qlab.

In-Brief Staging The show is designed for a cabaret-style stage/auditoriam, with either a cat-walk protruding Requirements into the auditorium (audience on either side), or one or two satellite stages in the auditorium. Describe your set and construction. The primary stage is bare, decorated with blue sequinned curtains (provided, and hung on How does it sit on stage? Is a fly existing bars with Velcro tabs), at the back through which entrances and exit can be made. system required? Any technical warnings? Do you require an Aerial routines include a trapeze, rigged over either the primary or secondary stages; a orchestra pit? Piano? Smoke/ counterweight system flying two people from 3 points. Technical specifications outlining rating strobe machine etc? requirements etc are being prepared and will be available by March 2017. The show requires haze, a UV unit and laser effects (UV unit and basic laser unit are provided by the company). Hazer to be provided by presenter.