En— Light— Enment Thanks to Our Supporters

Total Page:16

File Type:pdf, Size:1020Kb

En— Light— Enment Thanks to Our Supporters ON— Vol. 1 No. 5 STAGE May 2015 EN— LIGHT— ENMENT THANKS TO OUR SUPPORTERS FUNDERS PRINCIPAL CORE FUNDER PARTNERS PRESENTING FUNDER NIVERSITY PARTNER U ARTISTIC M A J O R Proud to be NZ’s Most Awarded Official Caterers of Official Telecommunications SUPPORTORS Winery and Sponsor of Auckland Theatre Company Partner Auckland Theatre Company DIRECTOR'S NOTE Colin McColl MEDIA PARTNER AJOR VENUE PARTNERS M Welcome to Enlightenment, the third Auckland Theatre Company mainstage production for 2015. Shelagh Stephenson’s marvellous and engrossing work has continued to thrill audiences since its premiere at Ireland’s Abbey Theatre several years ago. UPPORTING PARTNERS It’s every parents nightmare. Just as your child breaks free of family S ties, off on a life of their own, they take a step too far and are lost to you. Maybe forever. For Lia, the emotional core of Enlightenment, there can be no closure. Her backpacker son has disappeared and no amount of Mangere Arts Centre – Ngā Tohu o Uenuku education, intelligence, civilized learning or rational thinking can assuage Q Theatre her grief. 0 15 V E N U E PARTNERS SKYCITY Theatre 2 We are honoured to have a cast of this calibre to bring Enlightenment thrillingly alive for you. Many thanks to Rachel, Stephen, Catherine, David, Anna and Jordan for their sterling work. Thanks too to director Andrew Foster, and his talented and committed design team. Sit back and absorb damned good, skilful storytelling. A fable 0 15 ATC Patrons and Supporting Acts 2 for our time. BENEFACTORS 1 EN— LIGHT— ENMENT CAST DIRECTOR'S NOTE Lia — RACHEL NASH Nick — STEPHEN LOVATT Andrew Foster Joyce — CATHERINE WILKIN Gordon — DAVID ASTON Shelagh Stephenson’s rich and layered text reveals more each day we work with it. Joanna — ANNA JULLIENNE Her mystery is profoundly human, her characters complex and challenging. There’s Adam — JORDAN MOONEY something of Shakespeare’s dissection of the human condition in her sagaciously observed unfolding of a family’s journey into the unknown. CREATIVE This play is set in the here and now. In the chaos of post 9/11, and the anonymity Director — ANDREW FOSTER of consumerism. But Stephenson’s examination takes place on a molecular level. She Set Designer — DAN WILLIAMS cuts into the hearts of her characters and never once lets them sleep. Lia and Nick know they have lost their son, but they may never know what happened to him. Lighting Designer — BRENDAN ALBREY There’s a phrase I’ve just learnt: ‘pareidolia’, which describes the perception Sound Designer — PAUL McLANEY of patterns in random data, essentially seeing animals in clouds or figures in the Costume Designer — LISA HOLMES shadows. I think that in many ways this captures the ephemeral nature of this Audio Visual Designer — TOM BOGDANOWICZ tragedy. Without a form to their loss, this couple’s fears overwhelm their reality. Fight Choreography— ALEXANDER HOLLOWAY They find themselves lost inside the basest of human questions. I’m always reluctant to write director's notes. I suppose preferring to let a play speak for itself. But for those who will engage in this beautiful play’s deeper PRODUCTION questions, I offer the words of James K Baxter: Production Manager — ANDREW MALMO Alone we are born Acting Company Manager — ELAINE WALSH And die alone; Stage Manager — HOLLY CHAPPELL Yet see the red-gold cirrus Technical Operator — JAMIE JOHNSTONE Over snow mountain shine. Technical Manager — BONNIE BURRILL Props Master — NATASHA PEARL Along the upland road Set Construction — 2CONSTRUCT Ride easy, stranger: Surrender to the sky AUCKLAND THEATRE COMPANY WOULD LIKE TO THANK THE FOLLOWING FOR Your heart of anger. THEIR HELP WITH THIS PRODUCTION: Andrew Keegan for his drum performance, Tania Anderson, and Paul Lim. I feel lucky to be doing my job. There is something very special about the relationships formed when working together on a play. I’d like to thank my cast and Enlightenment is the third Auckland Theatre Company mainbill production for 2015 and opened on May 30th at Maidment Theatre. Enlightenment is approximately 115 minutes with 20 minutes interval. crew for being so open to getting inside this text with me. Thank you for making the Please remember to switch off all mobile phones, pagers and watch alarms. experience human and enjoyable. 33 2 3 SYNOPSIS Adam, a 20-year-old student, Joanna, a television producer has gone missing while travelling who is making a series about on his OE. The last his parents missing people. heard from him was a vague email Then, unexpectedly, a young mentioning Jakarta. His middle- man suffering from amnesia class mother, Lia, is devastated appears at the airport, looking and seeks solace from a psychic. uncannily like Adam and holding Adam’s stepfather, Nick is equally his passport. Lia invites him to upset but more level-headed. stay at their family home until Wanting to help, Lia's father his memory returns. But all is not Gordon (a former Labour MP) what it seems and gradually a dark introduces his daughter to truth emerges. Left Field wines, birthplace of the unexpected, the weird and the wonderful. Enjoy Left Field responsibly. leftfieldwines.com 4 LF1504-861_atc_advert_210x148mm.indd 2 16/04/15 1:05 PM CAST STEPHEN LOVATT (Nick) Stephen has performed in in Anne Boleyn, and Colonel theatre, radio, television and Malone in Once On Chunuk RACHEL NASH cinema throughout New Zealand Bair. Other theatre highlights and Australia over the last 27 years. include When The Rain Stops Falling, (Lia) Television appearances include Tom Stoppard's The Real Thing, Top Of The Lake, Hope And Wire, Angels In America and The Only Harry, Spartacus, and 5 years as Max Child produced by Silo Theatre. on Neighbours. Stephen has recently He will be appearing next in Rachel began her journey into Jinx Sister, The Map Reader, Ashes finished playing Sir John Hunt in Auckland Theatre Company’s acting at Theatre Corporate Drama to Ashes, The Vagina Monologues Great Southern Television’s soon upcoming production of David School in 1986. Since then she has and The Songmaker’s Chair with to be released Hillary - a six part TV Williamson’s comedy romp Rupert been involved with a wide variety Auckland Theatre Company. series about Sir Ed. directed by Colin McColl. of projects in theatre, film, TV, Rachel is delighted to be Previous work for Auckland Stephen was awarded radio and teaching. back at ATC working with such a Theatre Company includes ‘Excellence In Performance’ at the Some recent highlights for splendid cast, a fabulous director Fallen Angels and The Motor Camp, 2014 Auckland theatre awards for Rachel include The Almighty and a wonderful play. Member as well as particular highlights his work throughout that year, and Johnsons, The Cult, Abandoned, of Equity. including playing King James is a proud member of his union. 6 7 CATHERINE WILKIN DAVID ASTON (Joyce) (Gordon) Catherine began her career as a (Basement Theatre). Her latest David has been an actor for the One For The Road and The Jungle. student at the Mercury Theatre in appearance for ATC was in the last 25 years and has an impressive Other works include Yes, Prime Auckland in the seventies and since 2014 production of Trees Beneath and varied career, with films Minister (Australian and New then has worked extensively in The Lake. including Underworld 3 and Zealand tour 2013), Where Are You theatre, television, film and radio Credits for television in The Matrix, this year's 3 Mile Limit, My Only One? (Basement Theatre, as in New Zealand and Australia. Australia include Flying Doctors and television appearances producer and actor), The Crucible, Highlights in theatre have (Best Actress award), Rafferty's Rules including Soldier, Soldier (UK), A Clockwork Orange, A Shortcut to included Hedda Gabler for (Silver Logie), Mcleod's Daughters, Shortland Street, Duggan, Street Legal Happiness, Copenhagen, Arcadia and Downstage Theatre, which toured The Saddle Club, Halifax, and and Gloss. A Midsummer's Dream and musical to Oslo, Edinburgh, London and The Magistrate. And in New Zealand: Among his many stage credits theatre Oliver!, Jesus Christ Superstar, Sydney; The Graduate (Downstage), Children Of The Dogstar, The Case are lead roles in Yours Truly, Blood Brothers (Australia & NZ), Dinner, Lady Windermere's Fan Of Katherine Mansfield, Gloss, Macbeth, King Lear, Hamlet, Blue Westside Story, Sweeney Todd and (Circa), Equus, The Pohutukawa Tree, Marlin Bay, Swimming Lessons (Best Orange, A Number, Total Eclipse, Phantom of the Opera (Japan tour). The Importance Of Being Earnest, Supporting Actress), Outrageous Major Barbara, Closer, The Caretaker, Member of Equity. Who Wants To Be 100 (Auckland Fortune, Leo's Pride and Tangiwai. Theatre Company), The Raft Catherine was nominated for Best (Centrepoint), The Misanthrope, Supporting Actress at the 2013 Moa Burnt Piano (Melbourne Theatre Awards for the film The Weight Of Company), Tribes (Silo Theatre), Elephants. She has been a member Death of a Salesman (Peach of Equity since 1975. Productions) and Girl In Tan Boots 8 9 ANNA JULLIENNE JORDAN MOONEY (Joanna) (Adam) Anna's previous appearances Salesman, The Vagina Monologues Proudly a Hamilton-born and Lord of the Flies and Once On Chunuk for Auckland Theatre Company and View from a Bridge. bred actor, Jordan made the move Bair. In the past year Jordan has include playing the lead in Interspersed amongst these to Auckland in 2009. His first worked with Fractious Tash in Anne Boleyn, the frustrated shows she has found time to work production with Auckland Theatre the Q Theatre sell-out season of Doctor's wife in In The Next in television, including the new Company was that year in the Earnest and has completed filming Room (or The Vibrator Play), and Australian drama 800 Words, Young & Hungry season of Shortland Street and Hillary.
Recommended publications
  • Nz Film Productions, 1990-2016
    NZ FILM PRODUCTIONS, 1990-2016 PRODUCTION TITLE PRODUCERS SCRIPT DIRECTOR DOP PROD. DESIGNER COSTUME DESIGNER EDITOR SOUND DESIGNER 43,000 FEET * Feature 2012 Amber Easby Matt Harris Campbell Hooper Andrew Stroud Campbell Hooper Bruce Langley Heather Lee 800 WORDS * Teleseries 2015-2016 Chris Bailey James Griffin Mike Smith Fred Renata Gary Mackay Sarah Aldridge Eric De Beus John Holmes Maxine Fleming Pino Amenta Dave Garbett Greg Allison Paul Sutorius Kelly Martin Timothy Balme Michael Hurst Gary Hunt Julie McGauran Kate McDermott Murray Keane Chris Hampson Natalie Medlock Sarah-Kate Lynch 50 WAYS OF SAYING FABULOUS * Michele Fantl Stewart Main Stewart Main Simon Raby Ken Turner Kirsty Cameron Peter Roberts Peter Scholes Feature 2005 6 DAYS * Feauture 2016 Matthew Metcalfe Glenn Standring Toa Fraser Aaron Morton Liz McGregor Dan Kircher 7 DAYS * Teleseries 2009 Jon Bridges Josh Samuels Nigel Carpenter Luke Thompson Jason Pengelly A SONG OF GOOD * Feature 2008 Mark Foster Gregory King Gregory King Virginia Loane Ashley Turner Natalija Kucija Jonathan Venz ABANDONED * Telemovie 2014 Liz DiFiore Stephanie Johnson John Laing Grant McKinnon Roger Guise Jaindra Watson Margot Francis Mark Messenger ABERRATION * Feature 1997 Chris Brown Darrin Oura Tim Boxell Allen Guilford Grant Major Chris Elliott John Gilbert David Donaldson ABIOGENESIS * Feature 2012 Richard Mans Michelle Child AFTER THE WATERFALL * Feature Trevor Haysom Simone Horrocks Simone Horrocks Jac Fitzgerald Andy McLaren Kirsty Cameron Cushia Dillon Dick Reade 2010 ALEX * Feature
    [Show full text]
  • CV Bryan Woltjen 2014
    Bryan Woltjen Theatrical Design 72B Deptford High St London SE8 4RT www.bryanwoltjen.com 11/33 Pakenham St Fremantle WA 6160 U.K. +44 (0)786 122 9882 [email protected] Australia +61 (0) 417 960 200 A graduate of the Western Australian Academy of Performing Arts, Bryan has designed set, costume and puppets for a diverse range of theatre makers across Australia, India and the U.K. In 2008 he undertook a series of three residencies across India researching puppetry and devising new works. He is the recipient of two W.A. Equity Guild Awards for Best Set Design: in 2005 for ‘The Visit’ (Black Swan State Theatre Company) and in 2009 for ‘Far Away’ (Black Swan State Theatre Company). Bryan also lectures, facilitates and speaks on Design, Puppetry and Theatre-making. PRODUCTIONS 2014 Designer Mrs Horton’s Finger (creative development) Dirty Market Theatre Designer Dash Arts Dacha (Дача) at Latitude Festival UK directed by Tim Supple & Josephine Burton Designer The Golden Bird directed by Amelia Bird Designer & Maker He Had Hairy Hands for Kill the Beast & The Lowry Puppet Maker Wulamanayuwi & the Seven Pamanui (2014 tour) for Darwin Festival 2013 Set & Costume Designer The Enchanted Story Trail for Rose Theatre Kingston & RHS Wisley Set & Costume Designer Roost for Gomito directed by Amelia Bird Design Consultant Oxbow Lakes for Dirty Market Theatre directed by Georgina Sowerby & Jon Lee Set Designer & Puppet Maker Jennifer Skylark & the Seagull’s Handbook for Greenwich Theatre & Powderkeg Designer After the Tempest for Teatro Vivo directed
    [Show full text]
  • Annual Report 2009-10
    New Zealand Film Commission Annual Report 2010 G19 Report of the New Zealand Film Commission for the year ended 30 June 2010 In accordance with Sections 150 to 157 of the Crown Entities Act 2004, on behalf of the New Zealand Film Commission we present the Annual Report covering the activities of the NZFC for the 12 months ended 30 June, 2010. Patsy Reddy Andrew Cornwell Chair Board Member PO Box 11-546 Wellington www.nzfilm.co.nz Funded by the New Zealand Government through the Ministry for Culture and Heritage and by the Lottery Grants Board Highlights The NZFC committed production financing to nine new feature films and eight short films during the financial year. It also supported the completion of 16 digital features. The NZFC provided strategic, logistical and financial support in the form of prints and advertising grants for seven new NZ features released in New Zealand cinemas during the year. Taika Waititi’s Contents feature filmBoy premiered at the Sundance Film Festival. It was awarded the Grand Prix award in the Generation Section of the Berlin Film Festival in February 2010 and went on to become the highest grossing NZ film of all time with a box office of more than $9 million. Gaylene Preston’s filmHome By Christmas enjoyed a highly successful cinematic release reaching $1.15 million box office. The film was nominated for 10 Qantas Film Awards. Independently financed feature documentaryThis Way of Life, directed by Tom Burstyn and produced by Sumner Burstyn, received a Special Mention in the Generation Section at the Berlin Film Festival.
    [Show full text]
  • Short Report
    COLLECTION FINDING AID John McCallum, AO, CBE (1918–2010) Performing Arts Programs and Ephemera (PROMPT) Australian Collection Development In collecting materials relating to prominent Australians, programs and ephemera documenting all aspects of John McCallum stage acting career in Australia and overseas. Material on McCallum’s film and television screen career is not generally collected by the Library. The list is based on imperfect holdings and is updated as gaps in the Library’s holdings for this artist are filled. Content Printed materials in the PROMPT collection include programs and printed ephemera such as brochures, leaflets, tickets, etc. Theatre programs are taken as the prime documentary evidence of a performance by McCallum. In a few cases however, the only evidence of a performance is a piece of printed ephemera. In these cases the type of piece is identified, eg, brochure. The list is based on imperfect holdings and is updated as gaps in the Library’s holdings for this artist are filled. Unless otherwise stated, all entries are based on published programs in the PROMPT collection. Access The John McCallum PROMPT files may be accessed through the Library’s Petherick Reading Room by eCallslip request: http://nla.gov.au/nla.cat‐vn3529350. Arrangement The McCallum material in the PROMPT Collection is in the chronological order of his Australian and overseas performance and this list reflects this arrangement. Entries identify the city and the venue. All the information is taken from programs, flyers and ephemera. www.nla.gov.au Creative Commons Attribution-NonCommercial-ShareAlike 2.1 Australia June 2010 PROMPT Collection Finding Aid John McCallum, AO, CBE (1918–2010) Entries for each program are arranged as follows: Year, day/s and month; Venue/Theatre (Location) Company Name of production / Creator McCallum’s role or other involvement.
    [Show full text]
  • Here Has Been a Substantial Re-Engagement with Ibsen Due to Social Progress in China
    2019 IFTR CONFERENCE SCHEDULE DAY 1 MONDAY JULY 8 WG 1 DAY 1 MONDAY July 8 9:00-10:30 WG1 SAMUEL BECKETT WORKING GROUP ROOM 204 Chair: Trish McTighe, University of Birmingham 9:00-10:00 General discussion 10:00-11:00 Yoshiko Takebe, Shujitsu University Translating Beckett in Japanese Urbanism and Landscape This paper aims to analyze how Beckett’s drama especially Happy Days is translated within the context of Japanese urbanism and landscape. According to Routledge Encyclopedia of Translation Studies, “shifts are seen as required, indispensable changes at specific semiotic levels, with regard to specific aspects of the source text” (Baker 270) and “changes at a certain semiotic level with respect to a certain aspect of the source text benefit the invariance at other levels and with respect to other aspects” (ibid.). This paper challenges to disclose the concept of urbanism and ruralism that lies in Beckett‘s original text through the lens of site-specific art demonstrated in contemporary Japan. Translating Samuel Beckett’s drama in a different environment and landscape hinges on the effectiveness of the relationship between the movable and the unmovable. The shift from Act I into Act II in Beckett’s Happy Days gives shape to the heroine’s urbanism and ruralism. In other words, Winnie, who is accustomed to being surrounded by urban materialism in Act I, is embedded up to her neck and overpowered by the rural area in Act II. This symbolical shift experienced by Winnie in the play is aesthetically translated both at an urban theatre and at a cave-like theatre in Japan.
    [Show full text]
  • Trust News Editor: Carole Long Membership Secretary: Carol Martin
    MARCH, 1985 Vol 9 No 2 ISSN 0314 - 0598 A publication of the Australian Eli zabethan Theatre Trust Cats Opens in July CATS by Andrew Lloyd Webber Based on 'Old Possum's Book of Practical Cats' by T. S. Eliot Directed by Trevor Nunn Assistant Director and Choreographer: Gillian Lynne Designed by John Napier Lighting design by David Hersey Theatre Royal he eagerly awaited Australian pro­ T duction of the Andrew Lloyd-Weber musical CATS opens in Sydney in July. The production will feature an all­ Australian cast (yet to be announced) with the London production team. CATS, which has been playing in Lon­ don since May 1981, is the first major musical written by Andrew Lloyd Web­ ber without the collaboration of Tim Rice. Their previous successes were JOSEPH AND THE AMAZING TECHNICOLOR DREAM COAT (1967), JESUS CHRIST SUPERSTAR (1970) and EVITA (1975). CATS is based Footrot Flats An on T. S. Eliot's "Old Possum's Book of Practical Cats" which was published in October 1939. Eliot had a great affection Hilarious Musical Frolic for cats and 'Possum' was his nickname There is little attempt at plot. The show among his friends. Based on the cartoon strip by Murray Ball Most of the poems compris'ing the book Written {or the stage by Roger Hall works instead through a series of sket­ have been set to music complete and in Music by A. K. Grant ches within the framework of some their originally published form; a few Lyrics by Philip Norman familiar themes: town against country, have been subject to a minor revision and Directed by Brian Debnam conservation against expediency, and, Musical direction by Denis Follington last but not least, the love of a good eight lines have been added to "The Song Choreography by Kevan Johnston woman against anything that stands in of the Jellicles".
    [Show full text]
  • Theatre Australia Historical & Cultural Collections
    University of Wollongong Research Online Theatre Australia Historical & Cultural Collections 11-1977 Theatre Australia: Australia's magazine of the performing arts 2(6) November 1977 Robert Page Editor Lucy Wagner Editor Bruce Knappett Associate Editor Follow this and additional works at: https://ro.uow.edu.au/theatreaustralia Recommended Citation Page, Robert; Wagner, Lucy; and Knappett, Bruce, (1977), Theatre Australia: Australia's magazine of the performing arts 2(6) November 1977, Theatre Publications Ltd., New Lambton Heights, 66p. https://ro.uow.edu.au/theatreaustralia/14 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] Theatre Australia: Australia's magazine of the performing arts 2(6) November 1977 Description Contents: Departments 2 Comments 4 Quotes and Queries 5 Letters 6 Whispers, Rumours and Facts 62 Guide, Theatre, Opera, Dance 3 Spotlight Peter Hemmings Features 7 Tracks and Ways - Robin Ramsay talks to Theatre Australia 16 The Edgleys: A Theatre Family Raymond Stanley 22 Sydney’s Theatre - the Theatre Royal Ross Thorne 14 The Role of the Critic - Frances Kelly and Robert Page Playscript 41 Jack by Jim O’Neill Studyguide 10 Louis Esson Jess Wilkins Regional Theatre 12 The Armidale Experience Ray Omodei and Diana Sharpe Opera 53 Sydney Comes Second best David Gyger 18 The Two Macbeths David Gyger Ballet 58 Two Conservative Managements William Shoubridge Theatre Reviews 25 Western Australia King Edward the Second Long Day’s Journey into Night Of Mice and Men 28 South Australia Annie Get Your Gun HMS Pinafore City Sugar 31 A.C.T.
    [Show full text]
  • Talking out of Tune
    Talking Out of Tune Remembering British Theatre 1944-56 Kate Lucy Harris Ph.D. School of English Literature, Language and Linguistics University of Sheffield December 2008 1 Summary of Thesis This thesis explores how British Theatre represented and reacted to cultural and social changes between 1944 and 1956. It is closely linked to the oral history strand of the AHRC University of Sheffield British Library Theatre Archive Project <http://www.bl.ukltheatrearchive>. The five chapters focus on distinct subject areas in order to explore the vibrant diversity of the period. However, they are united by an overarching narrative which seeks to consider the relationship between memory and history. The first chapter is based on the oral history strand. It explores the different ways in which the Project's methodology has shaped both the interviewee testimony and my own research. Chapter 2 focuses on the changing historical perceptions of the popular West End plays of the day. Case studies of plays are used to compare the responses of audiences and critics in the 1940s and 50s, with the critical commentaries that surround the plays and playwrights today. The third chapter explores the relationship between BBC television drama and theatre. It assesses the impact that cross fertilisation had on both media by examining plays, productions and policies. Chapters 4 and 5 focus on two of the theatre companies of the period - Theatre Workshop and the Old Vic Theatre Company. Chapter 4 explores the impact that Theatre Workshop's early years as a touring group had on the development of the company. It draws on new oral history testimonies from former company members who joined the group in the 1940s and early 50s.
    [Show full text]
  • Trust News Is the Newsletter of the Australian Elizabethan Theatre Trust Which Is Mailed Free of Charge to Its 5000 Sydney Members, Eight Times Per Year
    ISSN 0314-0598 NOVEMBER, 1984, VOL 8, No. 7 ALVIN AILEY LA CAGE AUX FOLLES on the weekend we have arranged dress TOUR circle seats at $5 .00 discount for Saturday Keith Michell will play the lead in the evening March 9. As tickets are dearer on Broadway musical LA CAGE AUX a Saturday than a week night the Trust FOLLES which opens in Australia at Her price on March 9 is dearer than the Trust Majesty's Theatre, Sydney on Saturday nights and Members are restricted to two March 2, 1985. • tickets each . Additional tickets may of We are delighted to announce that the The musical, which is based on the same course be purchased at the general public Australian Elizabethan Theatre Trust will Jean Poi ret farce as the highly successful price. A $3.00 discount applies to all other be touring the Alvin Ailey Dance film of the same name is written by Harvey performances Monday to Thursday Company throughout Australia during Fierstein (who w rote TORCH SONG (including Wednesday matinee) for the 1985. Considered to be the most exciting TRILOGY) with musical score by Jerry first four weeks of the season . Your dance company in the world today the Herman. It swept the boards at the 1984 booking coupon is enclosed . Australian tour of this remarkable Tony Awards, winning best musical, best American company is the result of years director, best actor, best costumes, best of negotiation. It will play in the Lyric script and best musical score. LA CAGE Theatre, Sydney Entertainment Centre in has been running on Broadway since August 1985.
    [Show full text]
  • Act 2 National Audience Research
    Act 2 National Audience Research Audience views on booking tickets now, returning to live cultural events with social distancing, and experiencing culture in different formats. Wave 2 | 22 June – 15 July 2020 Katy Raines Co-founder and Partner www.indigo-ltd.com Act 2 Wave 2 Report July 2020 © Indigo-Ltd 1 Contents Context ........................................................................................... 4 Section 1: Methodology and Sample ............................................. 5 Sample breakdown .................................................................................................................... 6 Section 2: Overall findings ............................................................. 7 2.1 Booking NOW for Events in the future .............................................................................. 7 2.2 When and how will audiences return? .............................................................................. 9 2.3 Safety and Comfort ............................................................................................................ 11 2.4 Experiencing culture digitally ........................................................................................... 12 2.5 Experiencing culture outdoors ......................................................................................... 16 2.6 Economic Viability .............................................................................................................. 18 2.7 Disabled Audiences ..........................................................................................................
    [Show full text]
  • By Hilary Bell Sbw Stables Theatre 6 September – 12 October 2019
    GRIFFIN THEATRE COMPANY PRESENTS GRIFFIN THEATRE SPLINTER COMPANY BY HILARY BELL SBW STABLES THEATRE 6 SEPTEMBER – 12 OCTOBER 2019 DIRECTOR LEE LEWIS DESIGNER TOBHIYAH STONE FELLER LIGHTING DESIGNER BENJAMIN BROCKMAN SOUND DESIGNER & COMPOSER ALYX DENNISON VIDEO DESIGNER MIC GRUCHY STAGE MANAGER REBECCA POULTER WITH LUCY BELL SIMON GLEESON Supported by Griffin’s Production Partner program Griffin acknowledges the generosity of the Seaborn, Broughton & Walford Foundation in allowing it the use of the SBW Stables Theatre rent free, less outgoings, since 1986. Government partners PLAYWRIGHT’S NOTE Splinter had its premiere in 2012 at can no longer resist it, and it takes hold, Sydney Theatre Company, following he must keep shifting the line in the a couple of intensive creative sand in order to sustain his logic. developments. It was a beautiful Splinter came to me pretty much whole. production co-directed by Sarah Goodes Unlike some other plays, where I’ve and puppeteer Alice Osborne, with floundered, found myself becalmed, guidance from dramaturge Polly Rowe. been filled with misgivings, I knew from Originally commissioned as a work for the first instant what this play wanted children (!), it darkly bloomed into a to be. The final draft is not substantially kind of gothic thriller. I brought to the different from my first outline. The play two of my creative obsessions: writing work that followed was mostly a fairy tales, and the Unreliable Narrator. matter of putting flesh on the bones. My references spanned sources as diverse as Henry James’ The Turn of the It’s unusual for a contemporary Screw, folk tales about changelings, Australian play to get a second life.
    [Show full text]
  • Australia's Magazine of the Performing Arts 3(12) July 1979 Robert Page Editor
    University of Wollongong Research Online Theatre Australia 7-1979 Theatre Australia: Australia's magazine of the performing arts 3(12) July 1979 Robert Page Editor Lucy Wagner Editor Follow this and additional works at: http://ro.uow.edu.au/theatreaustralia Recommended Citation Page, Robert and Wagner, Lucy, (1979), Theatre Australia: Australia's magazine of the performing arts 3(12) July 1979, Theatre Publications Ltd., New Lambton Heights, 50p. http://ro.uow.edu.au/theatreaustralia/32 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] Theatre Australia: Australia's magazine of the performing arts 3(12) July 1979 Description Contents: Comment Quotes and Queries Whispers, Rumours and Facts Letters Guide — Theatre, Opera, Dance Richard Wherrett — nI terviewed by Rex Cramphorn Glynne — The am n behind the G &S tour — Raymond Stanley 1979 National Playwrights’ Conference — Douglas Flintoff alcF on Island — Terry Owen Children’s Theatre: Theatre in Education — Ardyne Reid Come Out 79 — Andrew Bleby Flying Fruit Fly Circus — Iain McCalman Children's Theatre in America — Christine Westwood Big Business and the Arts Part 1 — TA Enquiry Writer’s View: Clem Gorman A Sense of Insecurity — Ken Longworth Proliferation of Secret Britain Plays — Irving Wardle Let’s Make; Secret Marriage; D'Oyly Carte — David Gyger Coppelia — William Shoubridge The Queensland Ballet's Autumn Season — Deborah Reynolds ACT Losers — Solrun Hoaas NSW The
    [Show full text]