Victorian Honour Roll of Women 2005

Total Page:16

File Type:pdf, Size:1020Kb

Victorian Honour Roll of Women 2005 WWomen W victorian honour roll of women 2005 Contents Scientific research, education and the smell of rain… 1 Foreword 2 Isabel Joy Bear AM 3 Penny Blazey 4 Carolyn Briggs 5 Janice Margaret Dale 6 Anne Davie 7 Rhonda Louise Galbally AO 8 Sandra George 9 Carmel Guerra 10 Ann Jarvis 11 Gertrude Johnson 12 Susan Lockwood 13 Ivy Marks, Josie Mullet & Lorraine Sellings 14 Edith Joyce Morgan OAM 15 Elizabeth O’Brien 16 Anne Robina Sgro 17 Trang Thomas AM 18 Claire Vickery 19 Assoc Prof.Wendy Weeks 20 Messages victorian honour roll of women 2005 W 1 Foreword The Victorian Honour Roll of Women recognises the outstanding contributions made by individual women to our community. I am delighted to present the stories of the women who join the Victorian Honour Roll of Women in 2005. It is fitting that we pay tribute to their many achievements. Their stories reveal the way in which each of these women has used their unique skills, experiences and insights to enrich their world. Whether they have worked behind the scenes in support of local communities or on the international stage, each of these women have created better opportunities for women in Victoria, in Australia and beyond. They have provided leadership, they have touched the lives of those around them, they have helped improve the lives of women and their families and they have helped produce long term change for the better. But these stories will do more than describe achievements. They will remind you, as they remind me, of the strength that resides within women to achieve extraordinary things. They also represent the effort and determination of women across Victoria from diverse cultures and backgrounds who work to strengthen our community everyday. The Victorian Government is committed to improving women’s lives and honouring their achievements each year in this way as an important part of fostering women’s leadership. I hope you enjoy learning about the lives of these women. They continue a great tradition of Victorian women who have inspired and motivated others to make a difference in their own way. Mary Delahunty MP Minister for Women’s Affairs 2 W victorian honour roll of women 2005 Isabel Joy Bear AM Scientific research, education and the smell of rain… The smell of rain after a long period of warm dry weather is one we all recognise. Identifying the chemistry behind that smell is just one of the many achievements of Isabel Joy Bear’s fifty year career in science. Starting as a Junior Laboratory Assistant in 1944, Isabel rose to the position of Senior Principal Research Scientist at CSIRO. Isabel’s contribution to Australian science and, in particular, the field of mineral chemistry was recognised in her appointment as Member of the Order of Australia in 1986. In addition to a distinguished research career, which includes publishing more than seventy research papers and completing a senior doctoral degree, she has shown a passion for encouraging young women to pursue careers in science. A number of young Australian scientists have paid tribute to her guidance in furthering their scientific careers. Isabel sees it as providing a kind of support that was not available to her. “Women are still under-represented in science and for a long time it was hard to move from junior experimental positions, under someone else’s supervision, to the more senior research positions” she says. Isabel’s commitment to supporting women in science made her a founding member, and subsequent chair, of the Royal Australian Chemical Institute’s (RACI) Women in Chemistry Network. In 1988 she became the first woman to receive the RACI’s prestigious Leighton medal for services to chemistry in Australia. Isabel has also written extensively about science ranging from the foreword of the Australian Science in Schools Week Resource Book to co-authoring Alumina to Zirconia – the History of the CSIRO Division of Mineral Chemistry. An interest in the place of science in education led Isabel to take on other responsibilities including work with the Victorian Post-Secondary Education Commission and the Advisory Committee on Technological Research and Development in Colleges of Advanced Education. She is currently helping to prepare the history of the CSIRO’s Chemical Engineering division. A relative of Annette Bear-Crawford, one of the founders of the Queen Victoria Hospital and a prominent Victorian suffragette, Isabel has continued a family tradition through her involvement in the Heritage Team of the new Queen Victoria Women’s Centre. victorian honour roll of women 2005 W 3 Penny Blazey From the gardens of the Mornington Peninsula to the women of East Timor… Running a successful nursery and tourism venture based at a National Trust property is a major achievement in itself. But for Penny Blazey, this work has been just a part of a much bigger set of achievements that have supported and linked women in Victoria and East Timorese women, and preserved and extended the environmental heritage and sustainability of the Mornington Peninsula. As one of the first few women councillors on the Peninsula, she championed initiatives that provided new and practical services for some of the most vulnerable members of the community, including the victims of domestic violence and people with disabilities. Her role as an honorary probation officer made her an important local support person for many young people and their families. This was a particularly vital role given the minimal of support services available on the Peninsula at the time. Her advocacy and her representations to governments have been widely cited as contributing to the increased levels of services now available in the area. In addition to the successful Diggers Seeds business she has helped to develop at Herronswood, she has used open days at the historic property to raise more than $200,000. These funds have been donated to women’s support organisations in Victoria and to assist in the purchase of sewing machines, fabric and motorbikes for women’s groups and small businesses in the eastern regional centre of Los Palos in East Timor. Her commitment to sustainability has helped develop an innovative nursery business based on heritage, non-hybridized, plant varieties. Plants that not only form an important part of our environmental heritage, but produce viable seeds are of particular significance in areas using subsistence agriculture. Through her work in the National Trust and with other community groups, she has contributed significantly to the preservation of sites of historic and environmental significance on the Peninsula. This has included the elevation of Point Nepean to National Park status, the recognition of indigenous heritage in the many walking tracks of Arthur’s Seat, and the successful nomination of the Mornington Peninsula as the first UNESCO recognised urban biosphere in Australia. She draws on her huge admiration for women who battle overwhelming and hostile environments and attitudes “…whether it’s someone in Australia like Beatrice Faust speaking out about feminism and abortion, or the women of Los Palos in Timor suffering under occupation”. 4 W victorian honour roll of women 2005 Carolyn Briggs Elder of the Boonwurrung people Carolyn Briggs is a respected Elder of the Boonwurrung people, a clan of the greater Kulin nations – the traditional owners of the land around Melbourne. The “Elder” title that carries with it a respect for her knowledge compassion, contribution, negotiation skills and dignity. In the challenges that face indigenous and non-indigenous communities today, Carolyn Briggs has described how she draws inspiration from her great grandmother, Louisa Briggs, as both a model of strength and as someone who acted as a cultural link helping to keep alive her people’s heritage. She also acknowledges the role that noted activist, educator and community leader Hyllus Maris played as a mentor in her life. Through her work she has continued this tradition of strength and heritage preservation. She helped establish the first Aboriginal child care centre in Dandenong in the 1970s, the Dja Dja Wrung Aboriginal Cooperative in Bendigo, and a large number of other community organisations. She has played a significant role in the struggle for recognition and rights for the Boonwurrung people, which culminated in the first indigenous land use agreement for the Melbourne area. She has also made substantial contribution to indigenous arts through her involvement with the Ilbijerri ATSI Theatre Cooperative and as a patron of the innovative Somebody’s Daughter Theatre Company. She has also made a very personal contribution to the welfare of indigenous people in Victoria. She was one of three Victorian Investigators into Aboriginal Deaths in Custody and, as well as raising her own family, has acted as a foster parent for older indigenous children. She has also worked to provide culturally appropriate services at the Royal Women’s Hospital. As a role model for younger generations of indigenous women, she has shown that they can be brokers of change, not only as mothers and nurturers, but also as political and cultural advocates. Underpinning all this work has been her cultural knowledge and her willingness to pass this knowledge on to others. “When you take young people out into the bush and they see what concepts like sharing and family really mean, it’s always inspirational. It makes you think ‘yes we are going to get there’.” victorian honour roll of women 2005 W 5 Janice Margaret Dale Mentoring women in local government In the mid-1970s Jenny Dale was a well respected nurse in Victoria’s rural north-east with a growing family. She was a fixture in the canteen on match days at Yackandandah Football Club and was on the swimming pool committee, all vital assets in a township of 700 people.
Recommended publications
  • Remembering Edouard Borovansky and His Company 1939–1959
    REMEMBERING EDOUARD BOROVANSKY AND HIS COMPANY 1939–1959 Marie Ada Couper Submitted in total fulfillment of the requirements of the degree of Doctor of Philosophy 2018 School of Culture and Communication The University of Melbourne 1 ABSTRACT This project sets out to establish that Edouard Borovansky, an ex-Ballets Russes danseur/ teacher/choreographer/producer, was ‘the father of Australian ballet’. With the backing of J. C. Williamson’s Theatres Limited, he created and maintained a professional ballet company which performed in commercial theatre for almost twenty years. This was a business arrangement, and he received no revenue from either government or private sources. The longevity of the Borovansky Australian Ballet company, under the direction of one person, was a remarkable achievement that has never been officially recognised. The principal intention of this undertaking is to define Borovansky’s proper place in the theatrical history of Australia. Although technically not the first Australian professional ballet company, the Borovansky Australian Ballet outlasted all its rivals until its transformation into the Australian Ballet in the early 1960s, with Borovansky remaining the sole person in charge until his death in 1959. In Australian theatre the 1930s was dominated by variety shows and musical comedies, which had replaced the pantomimes of the 19th century although the annual Christmas pantomime remained on the calendar for many years. Cinemas (referred to as ‘picture theatres’) had all but replaced live theatre as mass entertainment. The extremely rare event of a ballet performance was considered an exotic art reserved for the upper classes. ‘Culture’ was a word dismissed by many Australians as undefinable and generally unattainable because of our colonial heritage, which had long been the focus of English attitudes.
    [Show full text]
  • Victorian Honour Roll of Women
    INSPIRATIONAL WOMEN FROM ALL WALKS OF LIFE OF WALKS ALL FROM WOMEN INSPIRATIONAL VICTORIAN HONOUR ROLL OF WOMEN 2018 PAGE I VICTORIAN HONOUR To receive this publication in an accessible format phone 03 9096 1838 ROLL OF WOMEN using the National Relay Service 13 36 77 if required, or email Women’s Leadership [email protected] Authorised and published by the Victorian Government, 1 Treasury Place, Melbourne. © State of Victoria, Department of Health and Human Services March, 2018. Except where otherwise indicated, the images in this publication show models and illustrative settings only, and do not necessarily depict actual services, facilities or recipients of services. This publication may contain images of deceased Aboriginal and Torres Strait Islander peoples. Where the term ‘Aboriginal’ is used it refers to both Aboriginal and Torres Strait Islander people. Indigenous/Koori/Koorie is retained when it is part of the title of a report, program or quotation. ISSN 2209-1122 (print) ISSN 2209-1130 (online) PAGE II PAGE Information about the Victorian Honour Roll of Women is available at the Women Victoria website https://www.vic.gov.au/women.html Printed by Waratah Group, Melbourne (1801032) VICTORIAN HONOUR ROLL OF WOMEN 2018 2018 WOMEN OF ROLL HONOUR VICTORIAN VICTORIAN HONOUR ROLL OF WOMEN 2018 PAGE 1 VICTORIAN HONOUR ROLL OF WOMEN 2018 PAGE 2 CONTENTS THE 4 THE MINISTER’S FOREWORD 6 THE GOVERNOR’S FOREWORD 9 2O18 VICTORIAN HONOUR ROLL OF WOMEN INDUCTEES 10 HER EXCELLENCY THE HONOURABLE LINDA DESSAU AC 11 DR MARIA DUDYCZ
    [Show full text]
  • Have We Found
    ON STAGE The Summer 2005 newsletter of Vol.6 No.1 Have we found it? When offered the opportunity to be directly involved in the new musical production, Eureka, Darien Sticklen found himself asking with many others: Might this be the one? ow many of us over the years about five years—and list the creative team, have wanted to see a truly including Gale Edwards (directing and Horiginal Australian musical make co-authoring a new book with John it to hit status? Countless numbers have Senzcuk), Max Lambert and Michael Tyack tried. Here are selected extracts from (music), Peter England and Gabriella Darien Sticklen's Eureka Diary… Coslovich (set and costume design), Tony March 2004 Bartuccio (choreography) Trudy Dagleish (lighting design)…a talented team indeed. Seemingly out of the blue, I’m given a They’ve just had a workshop of the message that Simon Gallaher would like me new Act I script in Sydney and are to call him. After days of phone tag, we also planning a workshop of Act II finally speak. there in July, before rehearsals start. Simon wonders what my work schedule Their enthusiasm for the new is like in the later part of this year but is musical is infectious, of course. I very mysterious about the ‘acorn of an make it clear that I am not available idea’. Eventually he explains that on behalf during the Act II workshop period— of the producers of Eureka, he wants to this is not seen as a ‘deal- know if I’d be interested in taking the role breaker’.
    [Show full text]
  • 2016 Victorian Honour Roll of Women
    VICTORIAN 2016 INSPIRATIONAL HONOUR ROLL WOMEN FROM ALL OF WOMEN WALKS OF LIFE VICTORIAN HONOUR ROLL OF WOMEN PUBLISHED BY AUTHORISED BY Women and Royal Commission Branch The Victorian Government, Melbourne 2016 1 Treasury Place, Melbourne VIC 3000 ISBN 978-0-7311-6655-8 (online) Telephone: (03) 9651 2148 978-0-7311-6656-5 (print) — March 2016. ©Copyright State of ACCESSIBILITY Victoria 2015. This publication is copyright. If you would like to receive this publication in No part may be reproduced by any process another format, please phone (03) 9651 2148 except in accordance with provisions using the National Relay Service 13 36 77 of the Copyright Act 1968. if required, or email [email protected]. 2016 CONTENTS VICTORIAN HONOUR ROLL OF WOMEN 2016 Minister’s Foreword Inductee Profiles 2001–2016 Fiona Richardson MP Ms Simone Carson/10 Victorian Honour Roll of Women Minister for Women Ms Lisa Darmanin/26 Inductees Minister for the Prevention Ms Noeleen Dix/13 of Family Violence Mrs Doseena Fergie (nee Bin Garape)/19 Ms Sherryl Garbutt/14 Ms Virginia Geddes/09 Ms Sally Goldner/22 Mrs Be Ha/21 Ms Joanna Hayter/16 Prof Catherine Humphreys/25 Sr Catherine Mary Kelly/20 Ms Mary Kenneally/15 Ms Ingeborg King AM/08 Ms Patti Manolis/23 Dr Georgia Paxton/11 Ms Michelle Payne/27 Ms Colleen Pearce/17 Mrs Fay Patricia Richards/18 Ms Patricia Toop OAM/24 Aunty Joan Agnes Vickery AO/12 08 28 05 —27 —34 05 MINISTER’S FOREWORD VICTORIAN HONOUR ROLL OF WOMEN 2016 MINISTER’S FOREWORD Each and every day in my role as the Victoria has a rich and captivating Minister for Women and the Minister history of women’s achievements for the Prevention of Family Violence, through struggle and perseverance.
    [Show full text]
  • Sydney Dance Company - a Study of a Connecting Thread with the Ballets Russes’
    ‘Sydney Dance Company - A study of a connecting thread with the Ballets Russes’ Peter Stell B.A. (Hons). The Australian Centre, School of Historical Studies, The University of Melbourne. A thesis submitted in fulfilment of the requirements for the degree of Master of Arts by Research May, 2009. i Declaration I declare that the work presented in this thesis is, to the best of my knowledge and belief, original, except as acknowledged in the text, and that the material has not been submitted, either in whole or in part, for a degree at this or any other university. …………………………………………. Peter Stell ii Abstract This thesis addresses unexplored territory within a relatively new body of scholarship concerning the history of the Ballets Russes in Australia. Specifically, it explores the connection between the original Diaghilev Ballets Russes (1909- 1929) and the trajectories of influence of Russian ballets that visited Australia. The study’s hypothesis is that the Sydney Dance Company, under the artistic direction of Graeme Murphy between 1976 and 2007, and the creation in 1978 of Murphy’s first full-length work Poppy, best exemplifies in contemporary terms the influence in Australia of the Ballets Russes. Murphy was inspired to create Poppy from his reading of the prominent artistic collaborator of the Ballets Russes, Jean Cocteau. This thesis asserts that Poppy, and its demonstrable essential connection with the original Diaghilev epoch, was the principal driver of Murphy’s artistic leadership over fifty dance creations by himself and collaborative artists. This study sketches the origins of the Ballets Russes, the impact its launch made on dance in the West, and how it progressed through three distinguishable phases of influence.
    [Show full text]
  • The 'National Theatre'/'National Theatre Movement' 'National
    The 'National Theatre'/'National Theatre Movement' The National Theatre Movement was founded in Melbourne in 1935 by Australian opera singer Gertrude Johnson on her return to Australia from England, where she had enjoyed a modest operatic career for some years. Despite the lofty ideals of its founders (Johnson and a number of leading figures in Melbourne's then largely amateur music, opera, ballet, and theatre world, many of whom served on its board for many years) the National was rarely a genuinely serious professional theatre organisation and it never took off as a national movement, although a South Australian entity bearing the name of 'South Australian National Theatre Movement' flourished for a time in the early 1950s, while a Sydney rival – Clarice Lorenz – registered the name 'The National Opera of Australia' in 1953. i The National's heyday as a professional producer was arguably in the years between World War II and about 1954, during which years it mounted a high-profile series of eight annual three-arts festivals at the Princess Theatre, featuring its professional off-shoots: a National Theatre Ballet Company, a National Theatre Opera Company and a National Theatre Drama Company. Its significance as a would-be 'national', professional performing arts organisation was gradually lost following the development, after 1954, of the Australian Elizabethan Theatre Trust and its growing network of what were to become the 'state theatres', the Australian Ballet and the Australian Opera. Vestiges of the National's ambitions were still to be seen in various briefer 'professional' opera, ballet and music theatre seasons between 1960 and 1964 in various venues; a major drama season, in association with Garnett H.
    [Show full text]
  • Morgan Carter – Soprano
    [email protected] +61 435 530 574 MORGAN CARTER Soprano Nationality: British/Australian Height: 175cm DOB: 23rd July, 1996 Phone: +61 435 530 574 Email: [email protected] Website: morgancartersoprano.com Address: 15 Victoria Street, Windsor VIC 3181 Upcoming Productions Adelaide (The Enchanted Pig) Dove Australian Contemporary Opera Co. Apr 2021 TBA* TBA Australian Contemporary Opera Co. Oct 2021 Opera (Principal Roles) Woman 2 Together, Apart Gentile Yarra Valley Opera Festival Oct 2020 Hannah After As One* Kaminsky Gertrude Opera Jan 2020 Third Witch Macbeth Verdi Yarra Valley Opera Festival Oct 2019 Ms. NorthwindThe Enchanted Pig* Dove Yarra Valley Opera Festival Oct 2019 Ottavia Coronation of Poppea Monteverdi Yarra Valley Opera Festival Oct 2019 Edith Boojum! Wesley-Smith State Opera S.A. Jul 2019 Amneris ^ Aida Verdi Australian International Sep/Oct 2018 Productions (China) Cherubino Le Nozze Di Figaro Mozart Mediterranean Opera Jul 2018 Festival (Italy) Suzuki Madama Butterfly Puccini Mediterranean Opera Jul 2018 Festival (Italy) Jefferson Space Encounters O’Boyle Emma Knights Productions Mar 2018 Carmen Carmen Bizet Elephant in the Room Oct 2017 Productions Tessa The Gondoliers G&S Rockdale Opera Company Jun/Jul 2017 Larina ^ Eugene Onegin (En) Tchaikovsky Co-Opera (AUS Tour) Mar/May 2017 Opera (Chorus) Fidelio Beethoven Melbourne Opera Feb 2020 Cunning Little Vixen (En) Janàček State Opera South Australia May 2019 Carmen Bizet State Opera South Australia Mar 2019 Tosca Puccini Mopoke Theatre Productions Mar
    [Show full text]
  • Artistic Director
    The National Theatre Ballet School Professional Full Time Training Programs RTO 3600 CRICOS Provider 01551E AUS & NZ 2022 Photo credits Front cover: Jacinta Christos The National Theatre Ballet School One of Australia’s preeminent training institutions, the National Theatre Ballet School is distinguished as the forerunner and longest running of the country’s dance schools. We are devoted to providing world class training, nurturing you through the next stage of your artistic development. The school is proudly led by Artistic Director Damian Smith, an inspirational dancer with more than 25 years international experience with companies including Boston Ballet, Dutch National Ballet, Hong Kong Ballet, Hamburg Ballet, Ballet Du Nord and New York City Ballet. He joined the San Francisco BalletArtist in 1996, performing as Principal Dancer from 2001 until he joined the National Theatre Ballet School in 2018. Mr Smith has close connections with the professional dancers of the Australian Ballet Company where he regularly teaches and maintains close relationships with many Artistic Directors of major ballet companies around the world today. Located in Melbourne’s iconic National Theatre under the same roof as the Drama school, the Ballet school enables students to train in our beautiful heritage listed building and perform in the 800–seat theatre supported by our professional production and technical teams. And with the stunning St Kilda Beach just a 5 minute walk away, you will be able to unwind and relax after an invigorating day in the rehearsal room. “ I learnt to fly at the National. The National Theatre Ballet School taught me how to perform, how to be an artist and a dancer.
    [Show full text]
  • LINEAGES of VOCAL PEDAGOGY in AUSTRALIA, 1850-1950 Volume 2
    LINEAGES OF VOCAL PEDAGOGY IN AUSTRALIA, 1850-1950 Volume 2 by Beth Mary Williams A dissertation submitted in total fulfilment of the requirements of the degree of Doctor of Philosophy. The University of Melbourne September 2002 11 Lineages of Vocal Pedagogy in Australia The following is an introductory lineage study of major lineages of vocal pedagogy in Australia. Many lineages not contained in the body of the thesis are outlined in this document. The lineage also provides a cursory glance at the major lineages of traditional Italian pedagogy which have relevance for an Australian vocal pedagogical context, and it was hoped that this might assist readers in ascertaining the long term lineage links without excessive complication. The symbol'-' indicates that the following is separated from what is immediately above, and that a new lineage has begun. Lineages are indicated as subsequent generations by the use of one tab space, to show that the following names are pupils of the aforementioned. Naturally, lists of students of particular teachers are far from complete, and some only represent one particularly successful pupil of a given teacher. Where possible dates and biographical information are given, in order to contextualise the work of a singer or teacher. The documentation of lineages is not exhaustive. Many teachers who were active between 1850 and 2000 are omitted owing to the difficulties in finding information on private studios through archival resources and the reluctance of many present teachers to participate in surveys. The following is a sample three-generation entry, with an explanation of how the lineage may be understood: ~ (Separates different schools of singers.) Joe Bloggs (The teacher/s of the following bold name.) Joe Green (The teacher/singer under consideration.) Tenor, born in 1889, Green performed extensively with the Eastside Liedertafel.
    [Show full text]
  • ON STAGE the Summer 2009 Newsletter of Vol.10 No.1
    ON STAGE The Summer 2009 newsletter of Vol.10 No.1 In the National interest It’s all systems go: Arts Victoria has funded a major upgrade for the National Theatre, giving the St Kilda landmark a well-deserved boost. hanks to timely Arts Victoria funding the teaching and production of opera, the VCA in 1977). The auditorium is used for and support from Arts Minister dance and drama. community and commercial hirers as well as TLynne Kosky, the National Theatre The theatre was renamed—naturally the schools-—and it is income from hiring that in St Kilda is set for a major upgrade. enough—the National. The auditorium was subsidises the activities of the schools and Last year the National submitted an split horizontally so that teaching studios permits rental subsidies for community application to Arts Victoria for support in could be installed in the area formerly groups. funding a series of major upgrades to its occupied by the stalls and cinema stage, and Surprisingly, the National gets no recurrent aging facilities, a project totalling $750 000. a new stage and fly tower were built in front government support for its operations. The main fabric of the theatre is now 88 of the old dress circle, which then became ‘Everyone assumes we get help to run the years old. It opened as a cinema, the Victory, an 800-seat auditorium. It opened in 1974. schools because they include accredited on 18 April 1921. The revamped building has housed the vocational training regulated by the state Seven years later, in response to the National’s schools of drama and dance ever government, as well as international students,’ introduction of ‘talkies’ and competition since (the opera school was subsumed by says general manager Robert Taylor.
    [Show full text]
  • Marriage of Figaro", "Don Giovanni")
    Travel by AIB-CONDITIONED EXPBESS Air -conditioned expresses provide fast, clean and comfort - able services in New South Wales. • Riverina Expresses: Sydney-Albury. • Sydney-Melbourne Daylight Expresses: Sydney -Albur y. • Canberra-Monaro Express: Sydney-Canberra , Coo ma. • C e ntral West Express: Syd ney-Ora nge. • Silver C ity C omet: Parke s-Broken H ill. • Newcast le Expresses: Sydney-Newcastle. • Northern Tablelan ds Expresses: Sydney-Armidale. • North C oast Daylight Expresses: Sydney -Grafto n. Seat reservation is necessary and may be made up to 14 days in advance for travel withi n th e State and two months in ad va nce for interstate travel. Refreshments are obtainable on all of these ex presses. DEPARTMENTOF RAILWAYS,NEW SOUTHWALES > ='J)=;- ,__~ \ ,, ~-~ ._. I \~ 'J) / I I J \ ,, \ \ \' \ ,,I' , ' ' I , ' '.' I ,' I I , I I 'I. "\. , , I l ' ' ' I I I ''\ \ \ ' ' J ' \ \ ' -=\) I • I ' ' ,. \ 'I. - ~ ; I \ \ en ~ I '. ' ~-· Q., " ~ 0 Q ., 0 ~ ~ ~ N en> .,~ ' -·Q ~ ~ > I \t ~ \t ~ 0 ~ ~ I '.:2 > ~ The Australian Elizabethan Theatre Trust PATRON: HER MAJESTY T HE QUEEN PRESIDENT ...............The Rt. Hon. Sir John Lath am, G.C.M.G., Q.C. CHAIRMAN .......................................................................................... Dr. H. C. Coombs EXECUTIVE DIRECTOR ........................................................................... Hugh Hunt A full range ADM I ISTRATIVE OFFICER .............................................................. James M,lls HON . SECRETARY ................................................................................Mauri
    [Show full text]
  • André Thomas, Conducting
    2010 | 2011 Season 2010-2011 Season Sponsors WITNESS Friday,André March 4, 2011 Thomas at 8 pm Orchestra Hall, Minneapolis Concert Conversation at 7 pm with Classical Minnesota Public Radio’s John Birge and special guest Dr. André J. Thomas VocalEssence Chorus Sigrid Johnson, Philip Brunelle and André Thomas, conducting The St. Olaf Choir Anton Armstrong and André Thomas, conducting Combined High School Choruses André Thomas, conducting Central High School Concert Choir, Saint Paul Hastings High School Select Chorale, Hastings Washburn High School Miller Voices, Minneapolis Combined Choruses André Thomas, conducting Thanks for Special support of WITNESS VocalEssence Please Note 1900 Nicollet Avenue Minneapolis, Minnesota 55403 • This performance is being recorded — please help us keep the concert hall quiet. Take a 612-547-1451 www.vocalessence.org moment now to check that cell phones, paging devices and wristwatch alarms are turned off VocalEssence is a 501(c)(3) non-profit organization. before the concert begins. Thank you for your cooperation! Board of Directors David L. Mona, President • Recording devices and cameras are prohibited. No photography, video, or audio recording Kent E. Eklund, Ph.D., Vice President is allowed in the concert hall. Please refrain from tweeting, texting or checking email during Mike McCarthy, Treasurer the concert. Susan J. Crockett, Ph.D., Secretary Warren Beck Bruce W. Becker • Student and group discounts are available for most VocalEssence concerts. Half-price Jo Michelle Beld, Singer Liaison Philip Brunelle tickets are available to students (ages 6-18 and college) with a student ID. Groups of Uri Camarena 10 or more save 15% on tickets.
    [Show full text]