Chloe Armstrong

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SHANAHAN ROB COLLINS | Actor FILM Year Production/Character Director Company 2019 THE DROVER’S WIFE: THE LEGEND Leah Purcell Bunya Productions OF MOLLY JOHNSON Yadaka 2018 ANGEL OF MINE Kim Farrant SixtyFourSixty Brian 2018 TOP END WEDDING Wayne Blair Goalpost Pictures Father Isaac 2018 DHAKA Sam Hargrave AGBO/NETFLIX Rata 2017 UNDERTOW Miranda Nation Emerald Productions Dan TELEVISION Year Production/Character Director Company 2019 MYSTERY ROAD Wayne Blair & Bunya Productions Amos Warwick Thornton 2019 TOTAL CONTROL Rachel Perkins Blackfella Films Charlie Irving 2019 REEF BREAK Various ABC Studios International Doug O’Casey 2019 UPRIGHT Matthew Saville & Lingo Pictures Kane Tim Minchin Shanahan Management Pty Ltd PO Box 1509 | Darlinghurst NSW 1300 Australia | ABN 46 001 117 728 Telephone 61 2 8202 1800 | Facsimile 61 2 8202 1801 | [email protected] SHANAHAN 2018 SECRET CITY: UNDER THE EAGLE Tony Krawits & Matchbox / Foxtel Joseph Sullivan Daniel Nettheim 2018 GLITCH SEASON 3 Tony Krawitz Perplexing New Reality Phil 2017 THE WRONG GIRL SEASON 2 Various Playmaker Jack 2017 GLITCH SEASON 2 Tony Krawitz Perplexing New Reality Phil 2016 CLEVERMAN SEASON 2 Wayne Blair & Goalpost Pictures / Sundance TV Waruu West Leah Purcell 2016 THE WRONG GIRL Various Playmaker Jack 2015 CLEVERMAN Wayne Blair & Goalpost Pictures Waruu West Leah Purcell THEATRE Year Production/Character Director Company 2016 A MIDSUMMER NIGHT’S DREAM Kip Williams Sydney Theatre Company Lysander 2013-14 THE LION KING Julie Taymor Disney Theatrical Productions Mufasa Australia & New Zealand AWARDS AND NOMINATIONS Year Award/Nomination Production 2018 Equity Ensemble Award for Outstanding Performance CLEVERMAN S2 by an Ensemble in A Drama Series 2017 Logie Award for Best New Talent CLEVERMAN EDUCATION Year Institution 2013 National Institute of Dramatic Art (NIDA) Sydney, Australia Shanahan Management Pty Ltd PO Box 1509 | Darlinghurst NSW 1300 Australia | ABN 46 001 117 728 Telephone 61 2 8202 1800 | Facsimile 61 2 8202 1801 | [email protected] .

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SEASON ONE SYNOPSIS The Wrong Girl is a new contemporary show called The Breakfast Bar, who drama that centres on the adventures fi nds herself torn between two very of 29-year-old Lily Woodward. different men. Brimming with exuberance, optimism Joining Jessica is a star-studded, and cheeky energy, The Wrong Girl is virtual Hall of Fame cast including a sharp, playful and fresh fresh look at Craig McLachlan (The Doctor Blake men and women, friendship, work and Mysteries, Packed To The Rafters), family. It is for anyone who has fallen Kerry Armstrong (Bed of Roses, in love with someone they were never Lantana), Madeleine West (Fat Tony meant to love. & Co., Satisfaction), comedian, author Great job? Tick. Great best friend? and actor Hamish Blake, and Christie Tick. Great fl atmate? Tick. So what Whelan Browne (Spin Out, Peter Allen: could possibly go wrong? Not The Boy Next Door). Based on the best-selling novel by Zoë Fast-rising local acting sensation Foster Blake, The Wrong Girl features Ian Meadows (The Moodys, 8MMM) Jessica Marais – the award-winning stars as Pete Barnett, Lily’s confl icted star of television hits such as Packed best friend. The dynamic Rob Collins, To The Rafters, Love Child and Carlotta fresh from his star turn as Mufasa – as Lily, the producer of a cooking in the acclaimed Australian stage segment on a morning television production of The Lion King, portrays Jack Winters, the charismatic television chef who might just have the essential ingredients for capturing Lily’s heart. Stunning newcomer Hayley Magnus (The Dressmaker, Slide) plays Simone, Lily’s always intriguing fl atmate.
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Theatre Costume, Celebrity Persona, and the Archive
Persona Studies 2019, vol. 5, no. 2 THEATRE COSTUME, CELEBRITY PERSONA, AND THE ARCHIVE EMILY COLLETT ABSTRACT This essay considers the archived costume in relation to the concept of the celebrity performer’s persona. It takes as its case study the Shakespearean costume of Indigenous actress Deborah Mailman, housed in the Australian Performing Arts Collection. It considers what the materiality of the theatre costume might reveal and conceal about a performer’s personas. It asks to what extent artefacts in an archive might both create a new persona or freezeframe a particular construct of a performer. Central to the essay are questions of agency in relation to the memorialisation of a still living actress and the problematisation of persona in terms of the archived object. Can a costume generate its own persona in relation to the actress? And what are the power dynamics involved in persona construction when an archived costume presents a charged narrative which is very different to the actress’s current construction of her persona? KEY WORDS Costume; Archive; Deborah Mailman; Indigenous; Memory; Shakespeare COSTUME IN THE ARCHIVE: A CHARGED OBJECT In this essay I consider the archived theatre costume in relation to persona studies and what the materiality of costume might reveal or conceal about the celebrity performer’s persona(s). Can an archived costume have its own persona? What complexities arise when the charged historical narrative of an archived costume is at odds with a current persona? And in the following case study of Deborah Mailman, what happens when the framing of a living Indigenous actress’s costume constructs a persona that is quite different to the one that the actress currently constructs for herself? A costume worn by a performer live on stage is remembered in particular ways – and many in the audience might focus more on the performer’s stance, physicality, and verbal prowess than what they are wearing.
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Leah Purcell DROVER’S WIFE
THE Leah Purcell DROVER’S WIFE Currency Press, Sydney Writer’s Note Like many Australians, I’ve grown up with this story and love it. My mother would read or recite it to me, but before she got to that famous last line, I would stop her and say, “Mother, I won’t ever go a drovin’.” I always wanted to do something with this story with me in it as the drover’s wife. There were two forms of inspiration that motivated me to write this play. First came the film idea in 2006, which I wanted to shoot in the Snowy Mountains. That inspiration came when I was filming the feature film Jindabyne, directed by Ray Lawrence. Secondly, I was in a writing workshop. I was there as a director, but got frustrated. So I went home and said it was time to write my next play. I looked at my bookshelf and there it was: my little red tattered book of Henry Lawson’s short stories. The red cover had now fallen off, its spine thread fraying and my drawings inside as a five-year-old fading. In the original story, the drover’s wife sits at the table waiting for a snake to come out of her bedroom, having gotten in via the wood heap, which a ‘blackfella’ stacked hollow. While she waits for the snake, she thinks about her life and its hardships. Her oldest son joins her and she shares her story with him. This is not my version of The Drover’s Wife.
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First Nation Filmmakers from Around the World 10
MEDIA RELEASE EMBARGOED UNTIL 11.00am WEDNESDAY 10 MAY 2017 FIRST NATION FILMMAKERS FROM AROUND THE WORLD The 64th Sydney Film Festival (7–18 June) in partnership with Screen Australia’s Indigenous Department proudly continues support for First Nation storytelling from Australia and around the world. Leading First Nation Australian directors will premiere their new works at the Festival, including Warwick Thornton’s Opening Night film and Official Competition contender We Don’t Need a Map, and Wayne Blair and Leah Purcell’s highly anticipated second series of Cleverman. “Sydney Film Festival is committed to showcasing First Nation filmmakers and storytelling,” said Festival Director Nashen Moodley. “Throughout the Festival audiences will find examples of outstanding Indigenous cinema, from the red sands of Western Australia to the snowy landscapes of the Arctic Circle. These films promise to surprise, provoke and push boundaries.” “We're proud to continue our partnership with Sydney Film Festival to showcase these powerful documentaries from the world's leading Indigenous filmmakers, as well as premiere the innovative work of emerging new talent from around the country,” said Penny Smallacombe, Head of Indigenous at Screen Australia. “We are very pleased to see five films commissioned by NITV take their place alongside such prestigious works from across the world,” said Tanya Orman, NITV Channel Manager. Two important Australian First Nation documentaries will also have their premieres at the Festival. Connection to Country, directed by Tyson Mowarin, about the Indigenous people of the Pilbara’s battle to preserve Australia’s 40,000-year-old cultural heritage from the ravages of mining, and filmmaker Erica Glynn’s raw, heartfelt and funny journey of adult Aboriginal students and their teachers as they discover the transformative power of reading and writing for the first time (In My Own Words).
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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.
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Chloe Armstrong
SHANAHAN ROB COLLINS | Actor FILM Year Production/Character Director Company 2018 ANGEL OF MINE Kim Farrant SixtyFourSixty Brian 2018 TOP END WEDDING Wayne Blair Goalpost Pictures Father Isaac 2017 UNDERTOW Miranda Nation Emerald Productions Dan TELEVISION Year Production/Character Director Company 2019 MYSTERY ROAD Wayne Blair & Bunya Productions Amos Warwick Thornton 2019 REEF BREAK Various ABC Studios International Doug O’Casey 2019 UPRIGHT Matthew Saville & Lingo Pictures Kane Tim Minchin 2018 SECRET CITY: UNDER THE EAGLE Tony Krawits & Matchbox / Foxtel Joseph Sullivan Daniel Nettheim 2018 GLITCH SEASON 3 Tony Krawitz Perplexing New Reality Phil 2017 THE WRONG GIRL SEASON 2 Various Playmaker Jack Shanahan Management Pty Ltd PO Box 1509 | Darlinghurst NSW 1300 Australia | ABN 46 001 117 728 Telephone 61 2 8202 1800 | Facsimile 61 2 8202 1801 | [email protected] SHANAHAN 2017 GLITCH SEASON 2 Tony Krawitz Perplexing New Reality Phil 2016 CLEVERMAN SEASON 2 Wayne Blair & Goalpost Pictures / Sundance TV Waruu West Leah Purcell 2016 THE WRONG GIRL Various Playmaker Jack 2015 CLEVERMAN Wayne Blair & Goalpost Pictures Waruu West Leah Purcell THEATRE Year Production/Character Director Company 2016 A MIDSUMMER NIGHT’S DREAM Kip Williams Sydney Theatre Company Lysander 2013-14 THE LION KING Julie Taymor Disney Theatrical Productions Mufasa Australia & New Zealand AWARDS AND NOMINATIONS Year Award/Nomination Production 2018 Equity Ensemble Award for Outstanding Performance CLEVERMAN S2 by an Ensemble in A Drama Series 2017 Logie Award for Best New Talent CLEVERMAN 2017 Logie Award Nomination for Best Outstanding Newcomer CLEVERMAN EDUCATION Year Institution 2013 National Institute of Dramatic Art (NIDA) Sydney, Australia Shanahan Management Pty Ltd PO Box 1509 | Darlinghurst NSW 1300 Australia | ABN 46 001 117 728 Telephone 61 2 8202 1800 | Facsimile 61 2 8202 1801 | [email protected] .
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Music, TV & Film, Books & Reports by Trent Wallace, Former Australian
Cultural Resources: Music, TV & Film, Books & Reports By Trent Wallace, former Australian Pro Bono Centre AGS Secondee Policy & Project Officer A practical approach to supporting Indigenous people is by consuming music, television and film, books and reports. Whilst the list is not exhaustive, it provides a solid foundation! Music – There is a diverse and vast array of Aboriginal and Torres Strait Islander musicians. Thelma Plum, Mojo Juju, Jessica Mauboy, Baker Boy, Yothu Yindi, Christine Anu, Deborah Cheetham, Troy Cassar-Daley, Casey Donovan, Isaiah Firebrace, Archie Roach, Xavier Rudd, Dan Sultan, Dr G Yunupingu, Shakaya, A.B Original and Tiddas. Television and Film – TV shows such as Total Control, Redfern Now, Black Comedy, Cleverman, Wentworth -– in particular, anything featuring Leah Purcell. Also, the channel NITV. Anything by Stephen Oliver (look up his poetry and presentations). Movies such as The Sapphires, Rabbit-Proof Fence, Mabo, Radiance, Samson and Delilah, and Top End Wedding. Books – Dark Emu by Bruce Pascoe, First Australians by Rachel Perkins and Marcia Langton, Jandamarra and the Bunuba Resistance by Banjo Woorunmurra and Howard Pedersen, The Quiet Revolution by Marcia Langton, Hidden In Plain View by Paul Irish, It’s Our Country edited by Megan Davis and Marcia Langton, Butterfly Song by Terri Janke and anything by the incredible Anita Heiss. Reports – We also recommend reading the Report of the Royal Commission into Aboriginal Deaths in Custody,1 Closing the Gap reports,2 and Indigenous Expenditure reports.3 The Australian Institute of Health and Welfare has also produced the following helpful reports: Aboriginal and Torres Strait Islander people: a focus report on housing and homelessness,4 and Aboriginal and Torres Strait Islander Health Performance Framework (HPF) report 2017.5 1 See www.humanrights.gov.au/our-work/aboriginal-and-torres-strait-islander-social- justice/publications/indigenous-deaths.
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Sydney Theatre Company Annual Report 2011 Annual Report | Chairman’S Report 2011 Annual Report | Chairman’S Report
2011 SYDNEY THEATRE COMPANY ANNUAL REPORT 2011 ANNUAL REPORT | CHAIRMAn’s RepoRT 2011 ANNUAL REPORT | CHAIRMAn’s RepoRT 2 3 2011 ANNUAL REPORT 2011 ANNUAL REPORT “I consider the three hours I spent on Saturday night … among the happiest of my theatregoing life.” Ben Brantley, The New York Times, on STC’s Uncle Vanya “I had never seen live theatre until I saw a production at STC. At first I was engrossed in the medium. but the more plays I saw, the more I understood their power. They started to shape the way I saw the world, the way I analysed social situations, the way I understood myself.” 2011 Youth Advisory Panel member “Every time I set foot on The Wharf at STC, I feel I’m HOME, and I’ve loved this company and this venue ever since Richard Wherrett showed me round the place when it was just a deserted, crumbling, rat-infested industrial pier sometime late 1970’s and a wonderful dream waiting to happen.” Jacki Weaver 4 5 2011 ANNUAL REPORT | THROUGH NUMBERS 2011 ANNUAL REPORT | THROUGH NUMBERS THROUGH NUMBERS 10 8 1 writers under commission new Australian works and adaptations sold out season of Uncle Vanya at the presented across the Company in 2011 Kennedy Center in Washington DC A snapshot of the activity undertaken by STC in 2011 1,310 193 100,000 5 374 hours of theatre actors employed across the year litre rainwater tank installed under national and regional tours presented hours mentoring teachers in our School The Wharf Drama program 1,516 450,000 6 4 200 weeks of employment to actors in 2011 The number of people STC and ST resident actors home theatres people on the payroll each week attracted into the Walsh Bay precinct, driving tourism to NSW and Australia 6 7 2011 ANNUAL REPORT | ARTISTIC DIRECTORs’ RepoRT 2011 ANNUAL REPORT | ARTISTIC DIRECTORs’ RepoRT Andrew Upton & Cate Blanchett time in German art and regular with STC – had a window of availability Resident Artists’ program again to embrace our culture.
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By Wesley Enoch and Deborah Mailman with Lisa Flanagan
Sydney Theatre Company Education present By Wesley Enoch and Deborah Mailman With Lisa Flanagan Directed by Leah Purcell Teacher's Resource Kit Written and compiled by Robyn Edwards and Samantha Kosky sydneytheatre.com.au/education Copyright Copyright protects this Teacher’s Resource Kit. Except for purposes permitted by the Copyright Act, reproduction by whatever means is prohibited. However, limited photocopying for classroom use only is permitted by educational institutions. Sydney Theatre Company’s The 7 Stages of Grieving Teacher’s Notes © 2008 1 IMPORTANT INFORMATION The 7 Stages of Grieving By Wesley Enoch and Deborah Mailman Season 22 February – 20 March 2008 Venue Wharf 2, Sydney Theatre Company Pier 4/5 Hickson Road,Walsh Bay Touring The 7 Stages of Grieving will tour to Griffith Regional Arts Centre (2 April), Wagga Wagga Civic Theatre (4, 5, 7 April) and Albury Performing Arts Centre 9, 10 April). This tour has been made possible by Arts NSW through the ConnectED programme. Sydney Theatre Company would like to take this opportunity to warn members of the audience that this production contains names and visual representations of people recently dead, which may be distressing to Aboriginal and Torres Strait Islander people. All care has been taken to acquire the appropriate permission and show all proper respect. The performance time is approximately one hour. Please note there will be no interval and latecomers will not be admitted. We respectfully ask teachers discuss theatre etiquette with students prior to attending the performance. We respectfully ask that you discuss theatre etiquette with your students prior to coming to the performance.
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Who's Got It, Who's Lost It, and Who's Behind the Scenes
Trump v the swamp Mike Baird Ninja Warriors Leaks flood the White House Why I quit politics TV’s hit machine brothers OCTOBER 2017 POWER 2017 Who’s got it, who’s lost it, and who’s behind the scenes 8 LEAH PURCELL Actor, playwright, director Because: She allows white audiences to see from an Aboriginal perspective. Her radical adaptation of Henry Lawson’s The Drover’s Wife broke new ground for Australian theatre. Among its string of awards was the NSW Premier’s Literary Award for best drama, whose judges described it as “a declaration of war on Australia’s wilful historical amnesia”. Purcell, a Goa-Gunggari-Wakka Wakka Murri woman, uses the full arsenal of drama to tell new stories. In 2016 she co-directed Cleverman, which screened on ABC TV and meshed Aboriginal dreamtime stories into contemporary sci-fi genre. She also co-directed The Secret Daughter, which screened on Seven Network last year and has now been signed for a second series. Starring Jessica Mauboy, it marks the first time a commercial network has put an Indigenous Australian as the lead in a drama series. Season one was the second-highest rating drama for the year. What the panel says: She’s an Indigenous woman with a very political view. The Drover’s Wife was an incredible achievement and will make for a brilliant film. She also has two mainstream TV series on air and she’s winning every single award. – Graeme Mason The Drover’s Wife told the story in a completely different way to which it has been told before.
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Unesco Creative Cities Membership Monitoring Report 2015-17 MEMBERSHIP MONITORING REPORT
unesco creative cities membership monitoring report 2015-17 MEMBERSHIP MONITORING REPORT GENERAL INFORMATION. CONTRIBUTION TO THE NETWORK’S GLOBAL MANAGEMENT. MAJOR INITIATIVES IMPLEMENTED AT LOCAL LEVEL. MAJOR INITIATIVES IMPLEMENTED THROUGH INTER-CITY COOPERATION. PROPOSED ACTION PLAN. ANGELINA JOLIE AT THE SYDNEY PREMIER OF UNBROKEN CONTENTS. 2015-17 MEMBERSHIP MONITORING REPORT With support from the NSW Government, the City of Sydney, and key screen industry stakeholders, Sydney was awarded the UNESCO City of Film designation in December 2010. The existing screen infrastructure in Sydney and the diversity and value of film culture of Sydney was a major reason for the success of Sydney’s bid. It placed Sydney as the second City of Film in the UCCN. As the specialist agency in screen matters, management of the status of the City of Film was given to the former agency Screen NSW, with the agreement of the City of Sydney and the support of the NSW Government and former Minister for the Arts. The UNESCO Creative City designation is consistent with the aims of the NSW Creative Industries Action Plan, which seeks to ensure that NSW, through Sydney, is recognised as a global creative centre and leader in creative industries. Sydney and its surrounds continue to be the location for high levels of both international and local production and post-production, as well as many Australian TV dramas. NSW is the dominant state for screen production in Australia with more than 60% of Australian production and post-production businesses located in here. With a suite of funding opportunities for the professional production sector, from early development to production finance and a range of industry development programs, the organization supports the continued growth and development of a creative sector that returns significant economic benefits, large numbers of jobs and high cultural and social returns to the community.
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Series 2, Episode 4
SERIES 2, EPISODE 4 © ATOM 2013 A STUDY GUIDE BY KATY MARRINER http://www.metromagazine.com.au ISBN: 978-1-74295-383-0 http://www.theeducationshop.com.au Redfern Now Series 2 portrays contemporary inner city Indigenous life in and around the suburb of Redfern in Sydney, New South Wales. The series offers compelling stories of ordinary people dealing with the ups and downs that life brings. Redfern Now is a drama series written, directed and produced by Indigenous Australians. The series was developed in collaboration with UK screenwriter Jimmy McGovern and is produced by Blackfella Films’ Darren Dale and Miranda Dear, and presented by ABC TV and Screen Australia in association with Screen NSW. Now has relevance to units of work in CURRICULUM Aboriginal and Torres Strait Islander LINKS Studies, Australian History, Cultural Studies, English, Health and Human Redfern Now is suitable for second- Development, Literature, Media, ary students in Years 9–12. The Religion and Society, and Sociology. series offers stories of Aboriginal and Torres Strait Islander peoples told by Teachers are advised to direct stu- Aboriginal and Torres Strait Islander dents to complete activities that are peoples, allowing students to develop subject-relevant and age-appropriate. an awareness and appreciation of Indigenous storytelling and to see the issues affecting Aboriginal and Torres BLACKFELLA Strait Islanders from their perspective. FILMS Given its insight into the present expe- For twenty years, Blackfella Films has riences of Aboriginal and Torres Strait created innovative and high-quality Islander peoples, the series provides content across documentary and nar- opportunities for students to engage rative in both short and feature formats in discussions about Aboriginal and for theatrical, television and online plat- Torres Strait Islander identity and be- forms.
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