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Annual Report 2013 Annual Report 2013
Annual Report 2013 Annual Report 2013 4 Objectives and Mission Statement 50 Open Door 6 Key Achievements 9 Board of Management 52 Literary 10 Chairman’s report Literary Director’s Report 12 Artistic Director’s report MTC is a department of the University of Melbourne 14 Executive Director’s report 54 Education 16 Government Support Education Manager’s Report and Sponsors 56 Education production – Beached 18 Patrons 58 Education Workshops and Participatory Events 20 2013 Mainstage Season MTC Headquarters 60 Neon: Festival of 252 Sturt St 22 The Other Place Independent Theatre Southbank VIC 3006 24 Constellations 03 8688 0900 26 Other Desert Cities 61 Daniel Schlusser Ensemble 28 True Minds 62 Fraught Outfit Southbank Theatre 30 One Man, Two Guvnors 63 The Hayloft Project 140 Southbank Blvd 32 Solomon and Marion 64 THE RABBLE Southbank VIC 3006 34 The Crucible 65 Sisters Grimm Box Office 03 8688 0800 36 The Cherry Orchard 66 NEON EXTRA 38 Rupert mtc.com.au 40 The Beast 68 Employment Venues 42 The Mountaintop Actors and Artists 2013 Throughout 2013 MTC performed its Melbourne season of plays at the 70 MTC Staff 2013 Southbank Theatre, The Sumner and The Lawler, 44 Add-on production and the Fairfax Studio and Playhouse at The Book of Everything 72 Financial Report Arts Centre Melbourne. 74 Key performance indicators 46 MTC on Tour: 76 Audit certificate Managing Editor Virginia Lovett Red 78 Financial Statement Graphic Designer Emma Wagstaff Cover Image Jeff Busby 48 Awards and nominations Production Photographers Jeff Busby, Heidrun Löhr Cover -
The Australian Theatre Family
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Sydney eScholarship A Chance Gathering of Strays: the Australian theatre family C. Sobb Ah Kin MA (Research) University of Sydney 2010 Contents: Epigraph: 3 Prologue: 4 Introduction: 7 Revealing Family 7 Finding Ease 10 Being an Actor 10 Tribe 15 Defining Family 17 Accidental Culture 20 Chapter One: What makes Theatre Family? 22 Story One: Uncle Nick’s Vanya 24 Interview with actor Glenn Hazeldine 29 Interview with actor Vanessa Downing 31 Interview with actor Robert Alexander 33 Chapter Two: It’s Personal - Functioning Dysfunction 39 Story Two: “Happiness is having a large close-knit family. In another city!” 39 Interview with actor Kerry Walker 46 Interview with actor Christopher Stollery 49 Interview with actor Marco Chiappi 55 Chapter Three: Community −The Indigenous Family 61 Story Three: Who’s Your Auntie? 61 Interview with actor Noel Tovey 66 Interview with actor Kyas Sheriff 70 Interview with actor Ursula Yovich 73 Chapter Four: Director’s Perspectives 82 Interview with director Marion Potts 84 Interview with director Neil Armfield 86 Conclusion: A Temporary Unity 97 What Remains 97 Coming and Going 98 The Family Inheritance 100 Bibliography: 103 Special Thanks: 107 Appendix 1: Interview Information and Ethics Protocols: 108 Interview subjects and dates: 108 • Sample Participant Information Statement: 109 • Sample Participant Consent From: 111 • Sample Interview Questions 112 2 Epigraph: “Happy families are all alike; every unhappy family is unhappy in its own way. Everything was in confusion in the Oblonsky’s house. The wife had discovered that the husband was carrying on an intrigue with a French girl, who had been a governess in their family, and she had announced to her husband that she could not go on living in the same house with him. -
2018 Brochure Web.Pdf
SEASON 2018 2 A message from Kip Williams 5 The top benefits of a Season Ticket 10 Insight Events 13 Get the most out of your Season Ticket THE PLAYS 16 Top Girls 18 Lethal Indifference 20 Black is the New White 22 The Resistible Rise of Arturo Ui 24 Going Down 26 The Children 28 Still Point Turning: The Catherine McGregor Story 30 Blackie Blackie Brown 32 Saint Joan 34 The Long Forgotten Dream 36 The Harp in the South: Part One and Part Two 40 Accidental Death of an Anarchist 42 A Cheery Soul SPECIAL OFFERS 46 Hamlet: Prince of Skidmark 48 The Wharf Revue 2018 HOW TO BOOK AND USEFUL INFO 52 Let us help you choose 55 How to book your Season Ticket 56 Ticket prices 58 Venues and access 59 Dates for your diary 60 Walsh Bay Kitchen 61 The Theatre Bar at the End of the Wharf 62 The Wharf Renewal Project 63 Support us 64 Thank you 66 Our community 67 Partners 68 Contact details 1 A MESSAGE FROM KIP WILLIAMS STC is a company that means a lot to me. And, finally, I’ve thought about what theatre means to me, and how best I can share with It’s the company where, as a young teen, I was you the great passion and love I have for this inspired by my first experience of professional art form. It’s at the theatre where I’ve had some theatre. It’s the company that gave me my very of the most transformative experiences of my first job out of drama school. -
The 65Th Sydney Film Festival Begins 06/06/2018
MEDIA RELEASE: 09:00pm WEDNESDAY 6 JUNE 2018 THE 65th SYDNEY FILM FESTIVAL BEGINS The 65th Sydney Film Festival (6 – 17 June) opened tonight at the State Theatre with the Australian premiere of New Zealand film The Breaker Upperers. Festival Director Nashen Moodley was pleased to open his seventh Festival to a packed auditorium including the film’s writers-directors-stars Jackie van Beek and Madeleine Sami, alongside Australian actress Celia Pacquola and New Zealand actress Ana Scotney, who feature in the film. NSW Minister for the Arts Don Harwin said at the Opening Night Gala, “With some of the very best in visual storytelling from Australia and around the world, the 65th Sydney Film Festival promises to deliver something for every screen enthusiast this winter. Attending the cinema and taking in a film that captures your imagination is an enriching experience and judging by this year’s line-up, festival- goers have a lot to be excited about. I look forward to seeing Sydney’s cinemas buzzing this month as we enjoy another year of this brilliant festival in our city. All you have to do is sit back, relax, and enjoy the show.” Lord Mayor of Sydney, Clover Moore also spoke, welcoming audiences to come and experience all the Festival has to offer. “The City of Sydney is proud to continue our support for the Sydney Film Festival – one of the world’s oldest, continuous celebrations of film. As a global city, it’s essential that our residents and visitors have the opportunity to engage with stories and cultures from around the world – as well as promoting the work of our talented home-grown filmmakers.” “We are also proud to once again offer the Sydney Film Festival a home for The Hub in Lower Town Hall – where you can meet friends (and strangers!) to discuss the films you’ve seen, attend one of the brilliant talks or panels with filmmakers, or experience the best new Virtual Reality projects on offer,” she said. -
A Doll's House, Part 2
A DOLL’S HOUSE, PART 2 BY LUCAS HNATH Welcome A Doll’s House, Part 2 was one of the most talked about shows on Broadway last year, and for good reason. Lucas Hnath has taken Henrik Ibsen’s classic and told the story of what happened next. An audacious act by Hanth, for sure, but one executed with such skill that it honours the original beautifully while giving new life to the infamous characters. The result is a creation with a unique voice, infused with humour and a masterful blend of the traditional and the modern. We couldn’t be happier that Melbourne gets to see it in its first international production. 11 AUGUST—15 SEPTEMBER, 2018 Directed by 2018 Helpmann Award-winner and MTC Associate Director Sarah Goodes, Southbank Theatre, The Sumner A Doll’s House, Part 2 stars Marta Dusseldorp, 20 years after last performing with the Company, alongside Zoe Terakes, making her MTC debut, and Company favourites Deidre Rubenstein and Greg Stone. This stellar line-up, along with the brilliant design team, have brought the show to life impeccably. We’re busily gearing up for our 2019 Season Launch on Tuesday 4 September when all the exciting details of the productions and artists joining MTC next year will be revealed. We can’t wait to share it all with you and look forward to another fantastic year of theatre. Brett Sheehy ao Virginia Lovett Artistic Director & CEO Executive Director & Co-CEO Melbourne Theatre Company acknowledges the Yalukit Willam Peoples of the Boon Wurrung, the Traditional Owners of the land on which Southbank Theatre and MTC HQ stand, and we pay our respects to Melbourne’s First Peoples, to their ancestors and Elders, and to our shared future. -
Darkemu-Program.Pdf
1 Bringing the connection to the arts “Broadcast Australia is proud to partner with one of Australia’s most recognised and iconic performing arts companies, Bangarra Dance Theatre. We are committed to supporting the Bangarra community on their journey to create inspiring experiences that change society and bring cultures together. The strength of our partnership is defined by our shared passion of Photo: Daniel Boud Photo: SYDNEY | Sydney Opera House, 14 June – 14 July connecting people across Australia’s CANBERRA | Canberra Theatre Centre, 26 – 28 July vast landscape in metropolitan, PERTH | State Theatre Centre of WA, 2 – 5 August regional and remote communities.” BRISBANE | QPAC, 24 August – 1 September PETER LAMBOURNE MELBOURNE | Arts Centre Melbourne, 6 – 15 September CEO, BROADCAST AUSTRALIA broadcastaustralia.com.au Led by Artistic Director Stephen Page, we are Bangarra’s annual program includes a national in our 29th year, but our dance technique is tour of a world premiere work, performed in forged from more than 65,000 years of culture, Australia’s most iconic venues; a regional tour embodied with contemporary movement. The allowing audiences outside of capital cities company’s dancers are dynamic artists who the opportunity to experience Bangarra; and represent the pinnacle of Australian dance. an international tour to maintain our global WE ARE BANGARRA Each has a proud Aboriginal and/or Torres reputation for excellence. Strait Islander background, from various BANGARRA DANCE THEATRE IS AN ABORIGINAL Complementing Bangarra’s touring roster are locations across the country. AND TORRES STRAIT ISLANDER ORGANISATION AND ONE OF education programs, workshops and special AUSTRALIA’S LEADING PERFORMING ARTS COMPANIES, WIDELY Our relationships with Aboriginal and Torres performances and projects, planting the seeds for ACCLAIMED NATIONALLY AND AROUND THE WORLD FOR OUR Strait Islander communities are the heart of the next generation of performers and storytellers. -
Belvoir Annual Report 2019
BELVOIR CONTENTS 2019: At A Glance 04 Chair’s Report 08 Artistic Director’s Report 10 Executive Director’s Report 12 2019 Season 14 Belvoir 2019 in Review 32 Corporate Governance Statement 50 Board & Staff 54 Supporters, Trusts & Foundations, and Partners 55 Donors 56 In the Rehearsal Room 58 Tom Hobbs. Photo by Brett Boardman. BELVOIR 2019 AT A GLANCE 98,575 44% NEW SINGLE TICKET FEMALE 9,692 BUYERS IN 2019 ATTENDEES WRITERS AT BELVOIR PRODUCTIONS 6 AUSTRALIAN PLAYS PLUS ONE NEW AUSTRALIAN TRANSLATION $4,626,583 & 3 WORLD PREMIERS BOX OFFICE REVENUE OF A BELVOIR PRODUCTION 59% CALD ARTISTS ON STAGE WORKSHOPS HOSTED IN 3,240 IN A WORKSHOP PARTICATED STUDENTS 40 REGIONAL SCHOOLS WRITERS 56% FEMALE UNDER COMMISSION STUDENT WORKSHOPS DIRECTORS 21 175 6,701 ATTENDEES AT ATTENDEES 5,069 STUDENTS & TEACHERS TO UNWAGED who attended a schools 25A or evening performance PERFORMANCES 1,667 PERFORMANCE SUDENTS ATTENDED A SCHOOLS PERFORMANCE 6,374 APPLICATIONS 62,391 646 FOR FREE SUBSCRIPTIONS SOLD 163 FOR 25A SOCIAL PERFORMANCES BELVOIR’S POPULAR PRODUCTION CHALLENGE MEDIA INDIVIDUAL NATIONAL (OPEN TO ALL INDEPENDENT 247 COMPANIES & EMERGING ARTISTS) PROPS FOR ARTISTS 1,979,616 PAGE VIEWS FOLLOWERS COUNTING & CRACKING OVER 250 EMPLOYED 80 ARTISTS ENGAGED THROUGH 25A ACROSS 8 PRODUCTIONS 561 WESTERN SYDNEY STUDENTS IN WORKSHOPS AT THEIR SCHOOLS 104 4 5 HELPMANN AWARDS MATILDA AWARDS BEST WRITING / ADAPTATION FOR THE AUSTRALIAN STAGE (THEATRE BEST PRODUCTION OF A PLAY BEST MUSICAL OR CABARET COMPANIES) Counting and Cracking Fangirls Belvoir / Co-Curious Belvoir, Queensland Theatre and Brisbane Alana Valentine and Ursula Yovich, Festival, in association with Australian Barbara and the Camp Dogs, BEST NEW AUSTRALIAN WORK Theatre for Young People Belvoir in association with Vicki Gordon S. -
PROGRAM Prize Fighter
LA BOITE THEATRE COMPANY & BRISBANE FESTIVAL PRESENTS PRIZE FIGHTER BY FUTURE D. FIDEL PROGRAM Presented by La Boite Theatre Company & Brisbane Festival 5 - 26 September 2015 at the Roundhouse Theatre CAST Luke, Ensemble Margi Brown-Ash Rita, Nyota, Sofia, Ensemble Sophia Emberson-Bain Kadogo, Tim, Ensemble Thuso Lekwape Moses, Matete, Jeff Wilkie, Ensemble Gideon Mzembe Isa Pacharo Mzembe Aunty, Alaki, Old Man, Wayne Durain, Ensemble Kenneth Ransom PRODUCTION TEAM Writer Future D Fidel Director Todd MacDonald Dramaturg Chris Kohn Designer Bill Haycock Lighting Designer David Walters Composer/Sound Designer Felix Cross Video Designer optikal bloc Movement & Fight Director Nigel Poulton Design Intern Hahnie Goldfinch Lighting Design Secondment Christine Felmingham Stage Manager Heather O’Keeffe Assistant Stage Manager Ariana O’Brien Rehearsal Photography Dylan Evans Special thanks to Emmanuel Otti, Brisbane Boxing, Coleman Tyre Company Wacol and Corporate Box Gym. 1 WRITER’S NOTES Future D. Fidel In the world that depends on technology, it is hard to miss breaking news on an 8.9 Magnitude Earthquake that kills 19 people or the news about a massacre of five people in the middle of Europe. Surprisingly enough, if I asked you about one of the greatest mass killings in the world after WWII, I wouldn’t be surprised if you said the war in Iraq, Afghanistan or Pakistan. The death toll in these three countries combined is recorded to be approximately 371,000 people since 2001according to Watson Institute – Cost of War. This is not close to half the great genocide of Rwanda that claimed almost a million lives. The Democratic Republic of Congo is well known for its richness in natural resources and minerals such as gold, diamond, coltan, petroleum to name a few. -
Adaptation As Emancipation: Semantic Decoding of the Female Protagonist in Kenneth Branagh’S Film Adaptation of Mary Shelley's Novel "Frankenstein"
Adaptation as Emancipation: Semantic Decoding of the Female Protagonist in Kenneth Branagh’s Film Adaptation of Mary Shelley's Novel "Frankenstein" Matek, Ljubica; Pataki, Jelena Source / Izvornik: Adaptation: Theory, Criticism and Pedagogy, 2018, 79 - 98 Book chapter / Poglavlje u knjizi Publication status / Verzija rada: Accepted version / Završna verzija rukopisa prihvaćena za objavljivanje (postprint) https://doi.org/10.2370/9783844050622 Permanent link / Trajna poveznica: https://urn.nsk.hr/urn:nbn:hr:142:468884 Rights / Prava: In copyright Download date / Datum preuzimanja: 2021-10-11 Repository / Repozitorij: FFOS-repository - Repository of the Faculty of Humanities and Social Sciences Osijek Contributions to Literature-on-Screen Studies and other Adaptation Studies / Beiträge zur Erforschung der Literaturverfilmungen und anderer Adaptionsfälle Edited by / herausgegeben von ŽELJKO UVANOVIĆ Volume 2 / Band 2 2018 Adaptation: Theory, Criticism and Pedagogy Selected papers, student projects, and the film adaptation Osijek Sweet Osijek Edited by Ljubica Matek and Željko Uvanović Shaker Verlag Aachen 2018 Bibliographische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliographie; detaillierte bibliographische Daten sind im Internet über http://dnb.d-nb.de abrufbar. Diese Publikation wurde durch die freundliche Hilfe eines internen Forschungsprojekts der J.- J.-Strossmayer-Universität Osijek an der Fakultät für Geistes- und Sozialwissenschaften (UNIOS INGI 2015-11, PL: Prof. Dr. Željko Uvanović, Gastwissenschaftlerin: Prof. Dr. Kamilla Elliott, Lancaster University, UK) finanziert. Dem damaligen Rektor Herrn Prof. Dr. Željko Turkalj sowie dem damaligen Vize-Rektor für Wissenschaft und Forschung Herrn Prof. Dr. Rudolf Scitovski sei an dieser Stelle ganz herzlicher Dank ausgesprochen! © 2018 · Shaker Verlag Postfach 10 18 18 D-52018 Aachen Alle Rechte Vorbehalten. -
JANET KING - Season
THE AUSTRALIAN BROADCASTING CORPORATION AND SCREEN NSW PRESENTS A SCREENTIME, A BANIJAY GROUP COMPANY, PRODUCTION AACTA award winner Marta Dusseldorp reprises her lead role as the brilliant Senior Crown Prosecutor Janet King. Synopsis With gun crime exploding in the suburbs, Janet King (Marta Dusseldorp) is handpicked by a nervous government to head a Royal Commission into the surge of recent shootings. Unlike the world of the DPP, the Royal Commission allows Janet and her team to become the investigators – they can raid, interrogate and have police seconded to them. Conscripting solicitors Lina Badir (Andrea Demetriades), Richard Stirling (Hamish Michael), as well as the ambitious Owen Mitchell (Damian Walshe-Howling) as Counsel Assisting, with Detective Inspector Andy Campbell (Christopher Morris) as Police Liaison, Janet and her team peel back the complex layers of intrigue underpinning the illicit trade in weapons. As Janet exercises her powers and begins uncovering the truth, criminal and political forces begin to stir, bent on shutting down the Royal Commission, even if it means destroying Janet in the process. A shocking reveal brings Janet’s world crashing in on her as she faces legal proceedings of a deeply personal nature. Cast Janet King Marta Dusseldorp Owen Mitchell Damian Walshe-Howling Richard Stirling Hamish Michael Lina Badir Andrea Demetriades Andy Campbell Christopher Morris Tony Gillies Peter Kowitz Heather O’Connor Leah Purcell Bianca Grieve Anita Hegh Deborah Larsson Genevieve Hegney Major Simon Hamilton Aaron Jeffery -
50 Years of the Stables Griffin Theatre Podcast Series
50 Years of the Stables Griffin Theatre Podcast Series Episode Ten: Writing from the Heart With David Berthold and Tommy Murphy Director David Berthold and playwright Tommy Murphy discuss the pressures of adapting Timothy Conigrave’s beautiful memoir Holding the Man for the Stables stage, the deep emotional currency that the piece holds, and their interactions with Timothy’s family in the process. Host: AC - Angela Catterns Guests: DB - David Berthold TM - Tommy Murphy Angela Catterns: 2020 marks the 50th birthday of Griffin Theatres Company home: the Stables Theatre. I’m Angela Catterns. Join us as we celebrate the anniversary in this special series of podcasts, where we’ll hear about the theatre’s history and talk to some of the country’s most celebrated artists. Angela Catterns (AC): In more than 30 years of Griffin Theatre Company at the Stables Theatre, no production has been more successful than Holding the Man. The original production, adapted for the stage by Tommy Murphy, and directed by David Berthold, premiered in 2006 in a critically- acclaimed, sold out season. Tommy Murphy and David Berthold, both on tight travel schedules, joined us separately, but within hours of each other for this podcast; part of the series celebrating 50 Years of the Stables. AC: Welcome David, thank you for finding time to join our podcast series. David Berthold (DB): Great to be here Angela. AC: Thank you. So, you grew up in the theatre I read, is that right? DB: Um, well only to the extent that quite early on in my life I became involved in amateur drama in um, in Newcastle. -
2013 NIDA Annual Report
NATIONAL INSTITUTE OF DRAMATIC ART THEATRE FILM TELEVISION 215 ANZAC PARADE KENSINGTON NSW 2033 POST NIDA UNSW SYDNEY NSW 2052 PHONE 02 9697 7600 2013 NIDA Annual Report FAX 02 9662 7415 EMAIL [email protected] ABN 99 000 257 741 NATIONAL INSTITUTE OF DRAMATIC ART Theatre, Film, Television WWW.NIDA.EDU.AU ABOUT NIDA The National Institute of Dramatic Art (NIDA) is a public, not-for-profit company and is accorded its national status as an elite training institution by the Australian Government. CONTENTS We continue our historical association with the University of New South Wales and maintain FROM THE CHAIRMAN 4 strong links with national and international arts training organisations, particularly through membership of the Australian Roundtable for Arts Training Excellence (ARTATE) and through FROM THE DIRECTOR / CEO 5 industry partners, which include theatre, dance and opera companies, cultural festivals and UNDERGRADUATE STUDIES 8 film and television producers. NIDA delivers education and training that is characterised by quality, diversity, innovation GRADUATE STUDIES 10 and equity of access. Our focus on practice-based teaching and learning is designed to HIGHER EDUCATION STATISTICS 11 provide the strongest foundations for graduate employment across a broad range of career opportunities and contexts. NIDA OPEN 12 Entry to NIDA’s higher education courses is highly competitive, with around 2,000 NIDA OPEN STATISTICS 13 applicants from across the country competing for an annual offering of approximately 75 places across undergraduate and graduate disciplines. The student body for these PRODUCTIONS AND EVENTS AT courses totalled 166 in 2013. NIDA PARADE THEATRES 14 NIDA is funded by the Australian Government through the Ministry for the Arts, DEVELOPMENT 15 Attorney-General’s Department, and is specifically charged with the delivery of performing arts education and training at an elite level.