Use Your Imagination EDITION TWO 2017 Editors' Note Dear Members

the QUARTERLY VOICE

Use Your Imagination EDITION TWO 2017 Editors' Note Dear Members,

We trust you have had a wonderful Term Two and restful holiday break. On Saturday 27th May, the 71st Barbara Sis- ley Awards was held at Parliament House in Brisbane. It IN THIS ISSUE was a wonderful evening of celebration with Australian Music Examinations Board and Trinity College London students from around Queensland, as well as their teach- The Patron's Pen ers, family and friends. Actor Thomas Larkin spoke as the with Bruce Dawe AO Guest of Honour - his speech appears in this issue for your reading pleasure. The “Deepen Performance” Workshop President's Report also came to an end with a final showcase on Wednesday 31st May. We have included a report, testimonies and 71st BARBARA SISLEY photos of the workshop in this issue. We encourage all AWARDS members to submit articles and resources, as well as feedback, for future issues and we look forward to receiving Address by Guest of Honour, them. Thomas Larkin

20 Years of Harry Potter Talisa Pariss Katrina Roberts

'Deepen Performance' Workshop Reflections 2016-2017 Recommended Fees

Lesson charges are reviewed periodically by the CSPT Inc. Management Committee. Theatre Review: Noises Off! The latest review was undertaken in September 2016.

3 Ways to Use Storytelling Dice It should be noted that individual teachers must set their own fees and the information below is provided as a guide only. It is not intended as a scale of fees nor a minimum or THE ROLE OF SPEECH AND maximum charge for lessons. Individual circumstances must be taken into consideration. DRAMA IN SUPPORTING

CHILDREN’S SOCIAL- The Management Committee offers the following information having taken legal advice.

EMOTIONAL DEVELOPMENT The Association believes that (based upon comparable criteria and subject to individual experience, expertise and the costs of running a practice/office) reasonable lesson fees would be approximately: Imagnation Treasure Map

QUALIFIED TEACHERS: 2017 EISTEDDFODAU $65.00 per hour for an individual lesson and $80.00 per hour for a group lesson. 2017 EXAMINING BODIES STUDENT TEACHERS WITH PROFESSIONAL SUPERVISION: $45.00 per hour for an individual lesson and $50.00 per hour for a group lesson. Removable Resource EISTEDDFOD ADJUDICATOR’S FEES: $210.00 for a three-hour session. 2 2017 Management Committee and Appointments For general enquiries, please email [email protected]

PATRON Dr Bruce Dawe AO Immediate Past Annette Stoddart President 0412 731 152 President David Cockburn annette.m.stoddart 07 3890 8308 @gmail.com [email protected] Membership Rowena Luck-Geary Vice Presidents June Finney Officer (as above) 07 3397 1794 [email protected] Publications and Katrina Roberts Website Officer (as above) Helen Steele 0423 775 673 Referrals Officer Sarah Mitchell [email protected] (as above)

Secretary Margaret Gallagher Archivist David Cockburn (Correspondence) 0404 019 212 (as above) [email protected] Quarterly Voice Talisa Pariss Secretary Maria Chamberlain Editors 0410 844 999 (Minutes) 07 3841 1675 [email protected] mandachamberlain @ozemail.com.au Katrina Roberts (as above) Treasurer Rowena Luck-Geary 07 3390 2332 Catering Officer Kathy Wilson [email protected] (as above)

General Sarah Mitchell Committee 0418 759 274 Members [email protected] HONORARY LIFE MEMBERS Katrina Roberts The year in which Honorary Life 0434 631 685 [email protected] Membership of the CSPT Inc. was conferrred is indicated here. Kathy Wilson 07 3282 6672 Fay Muir (1998) [email protected] Beverley Langford (1998) Megan Shapcott June Finney (2004) 0414 724 301 Dr Jillian Clare (2006) [email protected] Beres Turner OAM (2006) Patsy McCarthy (2007) Pam Greatorix 07 3871 0488 Rowena Luck-Geary (2015) [email protected] Stephen Robinson (2016)

3 Silence Has Words for Liz

"Silence Has Words" is Dr Bruce Dawe's contribution for the second edition of The Quarterly Voice in 2017.

Silence has words which never have been spoken for all the skills of language and of art, words which, for all our willing, have not woken, but echo in the chambers of the heart.

Absence of our loved ones brings it nearer, its syllables of love expressed within, the beauties we behold are whispered dearer, that personal primer where all loves begin.

Lovers seek, through eyes and senses yearning, translations of that language of the soul which smoulders deep within, its embers burning, as though, indeed, to conflagrate the whole.

And, just as in young children, we see trembling that welcome on the lips in soundless ways, so, in our latter days, our words resembling so much we cannot speak, is our best praise.

~ Bruce Dawe The Patron's Pen The Patron's 4 Dear Members, President’s Report

I trust that Semester One reached a happy conclusion for you and your students. Hopefully, the semester vaction provided time for a well-deserved break and that you had plennty of time to sit back, rest and enjoy the holiday.

On the 27th of May, the 71st Barbara Sisley Awards were held in the Premier's Hall at Parliament House. Our guest of honour and guest speaker was Brisbane actor Thomas Larkin. I have had the pleasure of engaging Thomas to work with my students on several occasions and he always approaches his work with professionalism, immense energy and warmth; he really encourages the lads and provides expert guidance and is very supportive but also quite challenging in his feedback. His Barbara Sisley speech was very well-prepared and he has kindly allowed us to include a copy of the speech in this edition. Overall, it was a tremendous evening of fine entertainment that was thoroughly enjoyed by everyone who was fortunate enough to be able to attend. Special congratulations to our members whose students presented at the awards. I would also like to especially acknowledge and thank the co-ordinators June Finney and Helen Steele. They did a tremendous job! In particular, I especially thank Helen for the mammoth task she under- took in regards to contacting all of the awardees’ teachers and organising the event’s mountain of correspondence and paperwork. It is certainly a very time consuming task that requires an eye for detail (and immense patience and good humour at times as well). Thank-you also to my fellow Committee Members for their contribution to the smooth running of the evening. The Premiers’ Hall at Parliament House has proven to be a very suitable venue and the Asso- ciation hopes to continue to use the venue in the coming years. We first used it as a venue in 2010 for the 64th Awards which were co-ordinated by June Finney and Stephen Robinson. Our guest speaker that year was journalist Kathleen Noonan. The programme for this year’s Barbara Sisley Awards appears in this edition of your QV as well as a copy of Thomas’s address. Before closing my comments on this year’s awards, I would like to include a passage written by Christine Comans who wrote a book that details the history of La Boite. Her book La Boite: The Story of an Australian Theatre Company is described by Playlab as being a: “meticulously researched and enlightening work that both inter- rogates and celebrates the history of Queensland’s oldest theatre company. Highlighting the roles key people played in its evolution - particularly four remarkable women – she explores La Boite’s colourful past, its cultural significance to Brisbane, and its vibrant and enduring role in the nation’s theatrical history”. She wrote: “Sisley’s unexpected, tragic death on November 17, 1945 at the age of sixty-seven stunned the entire Brisbane arts community. Knocked down by a taxi in the centre of Brisbane on a Saturday night, she died the following day in the Brisbane General Hospital. At the time her loss was intensely felt by all those associated with Brisbane Repertory. Some years later, George Landen Dann in a tribute to his mentor, colleague and friend, positioned Barbara Sisley as one of the great women of Australian theatre, responsible alongside many other women for significantly influencing the development of theatre in this country:

She, for many years, was the very soul of Repertory. Everything pertaining to it hinged on her – as is the case with many other theatre groups not only in Australia but in many other countries. There always seems to be a woman at the bottom of each of them. Even the Old Vic, The Abbey Theatre, The Birmingham Repertory and, coming nearer home, The Independent Theatre of Sydney, the Twelfth Night Theatre, the Brisbane Arts Theatre – nearly all of them has or has had the enthusiasm of a woman to foster them through their growing pangs and guide them along the paths they should go. Barbara Sisley was so much a part of the repertory that it was excusable if many people thought that the letter ‘S’ in the Theatre’s initials – BRTS – stood not for ‘Society’ but for ‘Sisley’ and whenever she was seen – and it was quite frequently – receiving with immense dignity the applause due to a producer at the end of a play, there was always the feeling that tribute was not only being paid to her for that particular effort, but for the good fortune that had guided her to Brisbane and made her so enthusiastically and inseparably a part of the Repertory.

Our awards also celebrate the contributions made by so many other remarkable members of our society who gave generously of their time and talents - Sister Mary Leonard, Gilbert Auriol Luck, Maggie Lovejoy, Blanche Lather, Maibry Wragge, Daphne Roemermann – these are names that should never be allowed to fade away but continue to be remembered and celebrated.

Our Association sponsored 12 members to attend the “Deepen Performance” workshops series. Overall, it was a most successful event which enhanced the participants’ skills. The Association engaged the services of the highly experienced and acclaimed theatre practitioners and teachers, Dianne Eden and Jennifer Flowers from Double Act Studios. Participants attended for 3 hours each week for 10 weeks. The feedback from the workshop participants has been overwhelmingly positive. A report on the workshop series appears in this edition. I thank Dianne and Jennifer for their excellent tuition. I would also like to especially thank my employer, Father Michael Twigg O.M.I., Rector of Iona College, for providing the Association with a venue free of charge for the ten weeks. 5 This saved the Association a considerable amount of money in venue fees. Father Michael is very supportive of the Arts and certainly considers it most important for schools and similar educational institutions to provide support whenever and where-ever possible to help teachers to develop their skills. The series finished with a workshop presentation which was attended by CSPT Members and the participants’ families, and was followed by a light supper kindly supplied by June Finney, Annette Stoddart and Kathy Wilson.

I hope that you found something helpful in your Autumn Edition of the QV. On behalf of you, its readers, I wish to congratulate our QV’s co-editors, Talisa Pariss and Katrina Roberts. So how can you make the QV even more exciting and valuable? Simple! Make a contribution. As a professional body, we have such an immense wealth of knowledge and experience. Let us be generous and share!

Before closing, I would like to comment on another awards ceremony which just like our very own Barbara Sisley Awards is celebrating its 71st anniversary in 2017 – the Antoinette Perry Awards for Excellence in Theater – better known today as the Tony Awards which celebrate the very best that Broadway has to offer and is presented by the American Theatre Wing and The Broadway League. These women, Sisley and Perry, died a year apart; Sisley in 1945 and Perry in 1946. Both women left a lasting legacy. The Tony Awards were first held in the Grand Ballroom of the Waldorf Astoria Hotel in New York City. (Arthur Miller won the inaugural Best Play with All My Sons and Elia Kazan who had directed the play won for Best Director.) I would like to share part of the speech presented by the Divine Miss M, the stupendous Bette Midler, who won this year’s award for Best Actress in a Musical for her performance as Dolly Levi in Hello, Dolly!. In her main acceptance speech (which is well worth watching… she certainly provided one of the funniest moments in the telecast as she attempted to - and eventually succeeded - in silencing the orchestra with the quip, “Shut that crap off”) she declared: “Wait a second! I had teachers just like you do, and way back in the 60s before all this stuff happened, Mrs Mema Ishimoto, Mrs Betty Blake Rice.” Later, in a backstage interview, she elaborated on the teachers she had been taught by back in Hawaii where she was born and raised; these are the teachers who had initially helped send her on her path to stardom: “I was 14 or so, and Mrs. Ishimoto, who was my speech teacher, and Mrs. Betty Blake Rice, who was my drama teacher, took me under their wing. We used to have little contests in our state because we didn't speak English. We spoke pidgin English mostly, and they had a program to teach the kids how to speak standard English because we were a territory of the United States. So they would have these statewide contests, and they would push me along to do these statewide contests, and I became the state champion. I played both parts in The Glass Menagerie. I still see Mrs. Rice. I don't see Mrs. Ishimoto because I don't go back so often, but gee, they were fabulous to me. Mrs. Ishimoto brought me to the first restaurant I ever went to. I was really, really poor, and she showed me that there was another way another way of life. It was really marvellous.” At the end of a busy semester, when perhaps we feel just a little weary, it is always good to just take a moment to remember that as teachers we really do affect the lives of our students; we do not always see the end result of our labours but unquestionably we nurture, we inspire, we make our students ask questions and so often we make them push past their ‘perceived’ limitations. On the bookshelf in my office in Hannah Hall at Iona, I have a slightly weird but nevertheless quite wonderful collection of odds and ends given to me over the past thirty years by my students, and amongst them is a “Thank-you” trophy that a Year 10 lad had made for me; it all looks so very typical and rather pedestrian from the front but once you turn it around one discovers that he’s written on the back (in good old Nikko pen) the following: “Dear Sir, Thank you very much for your untiring support and time given to me this year. You found a talent in me that I did not know I had. Thanking you, Marcus Taylor ‘95”. As teachers, let’s never tire but continue to help our students discover!

Finally, your Committee always warmly welcomes your ideas. If you ever have any concerns or great concepts, then please let us know. In the near future, members who use the Referral System through our website, will be invited to fill in a short online survey that will be emailed to you; it’ll only take a few minutes to complete. Please make sure you respond! We need to have accurate information to use in our deliberations about proposed changes to the website that the Committee is currently investigating. Your input will make us stronger and more relevant as an Association. Remember, we are here to serve!

Kind regards,

David Cockburn - Honorary President – CSPT Inc.

President’s Report President’s 6 71st Barbara Sisley Awards 27th May 2017 - Parliamentary Annexe, Parliament House, Brisbane

Guest of Honour, Thomas Larkin, with the 2017 recipients.

Barbara Sisley is a name familiar to many in the fields of Speech, Drama and Performance. Born in England, Barbara Sisley came to Australia as a child, and went on to become not only a teacher of Speech and Drama, but a leading light in Brisbane’s theatre world. Her legacy is vast, and as such, the CSPT Inc hosts annually the Barbara Sisley Awards to recognise excellence in these fields, specifically to acknowledge those students who have attained the highest results in AMEB and Trinity College London examinations in the preceding year. The 71st Annual Barbara Sisley Awards were held on Saturday, May 27th, 2017, in the Parliamentary Annexe, Parliament House, Brisbane, where the outstanding achievements of some fifty students were acknowledged and celebrated.

The evening began with a warm and welcoming address from CSPT Inc President David Cock- burn, which was followed by the presentation of certificates and book awards, and a variety of performances from many of the evening’s recipients. 7 An audience of 170 proud family, friends, teachers and invited guests were entertained by younger students giving such renditions as the much-loved Anne of Green Gables; the always-mysterious Cheshire Cat; the cheeky-and-very entertaining poem, “Nude Dude”, and a moving presentation of Benjamin Zephaniah’s “We, Refugees”. Older students gave us performances that included Benedict, from Shakespeare’s Much Ado About Nothing; a timely, humorous and thoughtful speech entitled “Political Speech-Making - How to Obscure Your Meaning Until It’s Barely Legible”, and a very moving character recital of Maudie, from The Sanctuary Lamp.

Prior to interval, guest speaker, Brisbane-born actor Thomas Larkin, graduate of the Victorian College of the Arts, and who has performed with such companies as Queensland Theatre and La Boite Theatre delivered an engaging, informative and motivating address. Supper was held at interval under the beautiful lights of the Annexe Courtyard, where guests and recipients alike mingled and chatted.

I would like to thank the students, their parents, families and teachers for their participation in and contribution to the Awards. As one parent remarked afterwards, “There is amazing talent in Queensland, yes? And to be on the stage at such an event was fitting reward for such hard work and dedication.”

I would also like to acknowledge and sincerely thank the CSPT Inc Committee Members for the generous support, effort and hard work that went into what was a wonderfully successful evening.

Helen Steele Barbara Sisley Awards Coordinator 2017 (CSPT Inc Hon. Vice-President)

2017 REFERRAL SURVEY

In the interest of improving our referral service, members who are currently registered on the referral system will soon be receiving an email survey.

We would appreciate your timely response.

If you are not listed on the referral service but would like to complete the survey, please email [email protected] 8

71st

BARBARA SISLEY

AWARDS

Guest of Honour

THOMAS LARKIN

Premier’s Hall, Parliamen tary Annexe, Parliament House, Brisbane

7:00pm Saturday 27th May 2017

PRESIDENT’S MESSAGE On behalf of the Communication, Speech and Performance Teachers Inc., I welcome you to the 71st Annual Barbara Sisley Awards. Each year, the Awards acknowledge and celebrate the achievements of those students who top the state of Queensland in Australian Music Examinations Board Drama and Performance examinations, and Trinity College London, Speech and Drama examinations, in the previous year. We also acknowledge at these awards, the recipients of the Daphne Roemermann and Maibry Wragge Memorial Awards. We congratulate this year’s recipients on their outstanding achievements and acknowledge the significant support of their teachers and families.

The CSPT Inc. first established the Barbara Sisley Awards in 1947 to honour the outstanding contribution of Miss Barbara Sisley to our Association and to the Arts in Queensland over many years. Barbara Sisley was a creative and dynamic actor, director, producer and teacher of Speech and Drama; a co-founder of the Brisbane Repertory Theatre (now known as La Boite Theatre Company - the oldest theatre company in Queensland); and in 1939, a founding member of the Communication, Speech and Performance Teachers Inc. (then known as the Art of Speech Association). Today the overarching objective of the Association still remains: to encourage excellence in the teaching and learning of Communication, Speech and Performance. Barbara Sisley had an enormous influence on the development of theatre, actor training and the Speech and Drama teaching profession in Queensland. We remember her contribution to the Arts in Queensland with gratitude and respect.

I would like to welcome our guest of honour this evening, Thomas Larkin. Just like tonight’s awardees, Thomas is a young artist achieving success and accolades for his outstanding body of work. In 2008, Thomas graduated from the Victorian College of the Arts (VCA) with a Bachelor of Fine Arts (Acting) and has appeared in critically acclaimed productions with Queensland Theatre, La Boite Theatre Company, The Danger Ensemble, The Brisbane Festival and Brisbane Powerhouse. He has been nominated for Matilda Awards in the categories of both Best Actor and Best Supporting Actor, and his performance as ‘Mick’ in the award-winning short film The Neon King, which appeared at the Short Film Corner at the 2016 Cannes Film Festival garnered him a Most Outstanding Actor Award at the 2016 Griffith Film School Awards. At the 2016 Brisbane Arts and Culture Innovation Awards, Thomas was announced as a successful recipient of the prestigious Brisbane City Council Lord Mayor’s Young and Emerging Artists Fellowship. It is a pleasure to have Thomas as our guest of honour.

I would also like to welcome special guests, Life Members of the CSPT Inc., June Finney, Beverley Langford and Rowena Luck-Geary; National Manager of Trinity College London, Barry Walmsley, and Trinity College London Gold Coast Representative, Noelle Murray. Apologies are extended from our Patron, Dr Bruce Dawe and Liz Dawe; Chair AMEB, Mike Tyler; Brisbane Representative of Trinity College London, Kevin Gallagher; Past President Beverley Wood and Dr Walter Wood, as well as from CSPT Inc. Life Members, Jillian Clare, Patsy McCarthy and Stephen Robinson.

On behalf of the CSPT Inc., I sincerely thank the Australian Music Examinations Board and Trinity College London for their consistent support of our organisation. I would also like to thank members of the CSPT Inc. Management Committee for their dedication and diligence in preparing for this evening. Particular thanks must go to June Finney and Helen Steele who have coordinated tonight’s Award celebration.

On behalf of the Communication, Speech and Performance Teachers Inc., I wish all students, teachers and families success in their endeavours in 2017 and thank you all for joining us this evening to honour these outstanding Award recipients.

David Cockburn Honorary President, CSPT Inc. 10

2017 BARBARA SISLEY AWARDS PERFORMANCE PROGRAMME

PRELIMINARY RUBEN FITTON Allana Noyes Drama and Performance, AMEB The Cheshire Cat (Sr Mary Leonard Memorial Award) Lewis Carroll, ad. by (Gilbert Auriol Luck Memorial Award) LAMDA

PRELIMINARY DARCY Peta Horneman-Wren Drama & Performance, AMEB MERRIMAN-MCKAY (Sr Mary Leonard Memorial Award) Who Wants Arthur (Gilbert Auriol Luck Memorial Award) Amanda Graham

PRELIMINARY Louise Coman Drama & Performance, AMEB GRACE BROWN (Sr Mary Leonard Memorial Award) Best Friends by Kathryn (Gilbert Auriol Luck Memorial Award) Chambers Rachel Flynn

INITIAL GRADE LIAM MCNAMARA Mary-Anne Walsh Speech and Drama, Fly Racing Trinity College London Jack Prelutsky (Sr Mary Leonard Memorial Award)

FIRST GRADE LILY HOWELLS Maria Chamberlain Drama and Performance, AMEB Anne of Green Gables L.M. Montgomery

GRADE 1 KAYLEE ROBINSON Rebecca Hutchins Speech and Drama, ‘The Grand High Witch’ Drama Queens Studio Trinity College London from The Witches Roald Dahl

GRADE 1 JADA CRITCHLOW Natalie Greer Speech and Drama, Barbie Trinity College London Haley Calderon

GRADE 1 STEPHANIE SCHAPIRO Rebecca Hutchins Speech and Drama, Flocks’ Socks Trinity College London Michael Dugan

GRADE 1 AMAYA PARKER Rebecca Hutchins Speech and Drama, Gorgon in the Gully Trinity College London Melina Marchetta

SECOND GRADE HANNAH MADAYAG Lynn Martin Drama and Performance, AMEB Marley John Grogan

SECOND GRADE ISABELLA COPLEY Louise Coman Drama and Performance, AMEB Debbie at 9 Steven Herrick

SECOND GRADE COCO DOBLO Peta Horneman-Wren Drama and Performance, AMEB Tich Miller Wendy Cope

SECOND GRADE CAMERON GRIMMETT Allana Noyes Drama and Performance, I, Coriander AMEB Sally Gardner, ad. by LAMDA

SECOND GRADE ANNABELLE MCKENZIE Allana Noyes Voice and Communication, Mademoiselle Annabelle AMEB

GRADE 2 TAMAE MARSCHKE Rebecca Hutchins Speech and Drama, The Rehearsal Trinity College London Don Zolidis

GRADE 2 ANNA THOMAS Jane Irvine Speech and Drama, Alexandra, Trinity College London Stop Smoking Chambers Stephens

THIRD GRADE FRANCISKA SCHMOLL Catherine Clur Drama and Performance, Unable to attend AMEB

THIRD GRADE LUKE HARRISON Melissa Lyndon Drama and Performance, Nude Dude AMEB Tulip Kilbourne

GRADE 3 JORDAN HORNE Katrina Harvey Speech and Drama, ‘Veruca Salt’ from Charlie Sunshine Coast Trinity College London and the Chocolate Factory Grammar School Roald Dahl

GRADE 3 KELSEY PEACH Josephine Hogan Speech and Drama, Not performing Trinity College London

GRADE 3 ISABELLE LYTHGO Kellie Rossiter Speech and Drama, Not Another Wedding Trinity College London Kylie-Maree Weston-Schueber

FOURTH GRADE VALERIA EMANUELE Maria Elisseos (2016) Drama and Performance, The Grateful Dragon June Finney (2017) AMEB Raymond Wilson

FOURTH GRADE MARY-KATE ALBURY Helen Steele Drama and Performance, Thunderstorm AMEB Peter Skryznecki

GRADE 4 REUBEN COLLINS Kim Shepherd Speech and Drama, We Refugees Trinity College London Benjamin Zephaniah

GRADE 4 ELLA KIRK Kylie Skelton Speech and Drama, Orange Blossom Girl Somerset College Trinity College London Joan Macalpine

FIFTH GRADE SOPHIE JOHNSON Allana Noyes Drama and Performance, Boarding School AMEB Kristen Dabrowski

FIFTH GRADE GENEVIEVE COPLEY Annie O’Dowd Drama and Performance, Unable to attend AMEB

GRADE 5 RAVISHA PERERA Fiona Perry Speech and Drama, Unable to attend Trinity College London

GRADE 5 BELLA HARRIS Kylie Skelton Speech and Drama, Unable to attend Trinity College London

SIXTH GRADE ANNA LUTZ Roslyn Lewis Drama and Performance, We Were Liars All Saints AMEB Emily Lockhart Anglican School

SIXTH GRADE HANNAH LANE Maria Chamberlain Drama and Performance, The Choosing AMEB Liz Lochhead

SIXTH GRADE VERA TURNER Katrina Bailey Drama and Performance, The Bystander AMEB Rosemary Dobson

SIXTH GRADE BRIDGET BAILEY Katrina Bailey Drama and Performance, Ophelia AMEB Jackie French

GRADE 6 TAIA FAVALE Tanya Monro Speech and Drama, I Ate the Divorce Papers, Trinity College London Goodbye Charles by Gabriel Davis

GRADE 6 RUBY IOANNOU Fiona Perry Speech and Drama, Unable to attend Trinity College London

GRADE 6 DANETTE POTGIETER Fiona Perry Speech and Drama, Unable to attend Trinity College London

Interval and Supper

SEVENTH GRADE FERGUS GREGG June Finney Drama and Performance, Paddy Takes Centre AMEB Stage, Seaman’s Arms

SEVENTH GRADE RUPERT BEVAN Allana Noyes Drama and Performance, Unable to attend AMEB

GRADE 7 INDIANA MARSHALL Indiana Marshall Speech and Drama, Torn Apart Trinity College London Pam Williams

GRADE 7 LILIANA RITCHIE Nicky Fisser Speech and Drama, Mirrors Trinity College London Liliana Ritchie

GRADE 7 MATTHEW BENGTSON Nicky Fisser Speech and Drama, Instructions to an Actor Trinity College London Edwin Morgan

EIGHTH GRADE WILLIAM SMITH Nola Smith Drama and Performance, ‘Benedict’ from Much Ado AMEB About Nothing by William Shakespeare

EIGHTH GRADE ESTELLE MCCABE Annie O’Dowd Drama and Performance, Unable to attend AMEB

GRADE 8 EMILY CROW Alex Peacocke Speech and Drama, My Family and Other Trinity College London Animals (Endeavour Award) Gerald Durrell

GRADE 8 MADELEINE SIMONSEN Fiona Perry Speech and Drama, Mary Queen of Scots Got Trinity College London Her Head Cut Off (Endeavour Award) Liz Lochhead

GRADE 8 JOSHUA SHERRIFF Nicky Fisser Speech and Drama, Stuff Happens Trinity College London David Hare (Endeavour Award)

CERTIFICATE OF DRAMA AND YAEL STEWART June Finney PERFORMANCE, AUSTRALIA Unable to attend Drama and Performance, AMEB (Endeavour Award)

CERTIFICATE OF VOICE AND TOM LOUDEN Peter Murphy COMMUNICATION, AUSTRALIA Unable to attend Voice and Communication, AMEB (Daphne Roemermann Memorial Award)

CERTIFICATE OF VOICE AND MICHAEL MASON Julie McMenamin COMMUNICATION, AUSTRALIA Political Speech-Making: Voice and Communication, AMEB How to Obscure Your (Daphne Roemermann Memorial Award) Meaning Until It’s Barely Intelligible

PROFESSIONAL CERTIFICATE IN EMMA WILLIAMS Sally Eales COMMUNICATION SKILLS Aspiration Speech Communication Skills, Trinity College London (Maibry Wragge Memorial Award)

ASSOCIATE DIPLOMA TRINITY OLIVIA BOURNE Kylie Skelton COLLEGE LONDON (PERFORMING) ‘Tiggy Entwhistle’, Speech and Drama, Bombshells by Joanna Trinity College London Murray-Smith

LICENTIATE DRAMA AND KATRINA ROBERTS June Finney PERFORMANCE, AUSTRALIA ‘Maudie’, The Sanctuary Drama and Performance, AMEB Lamp by Tom Murphy

The CSPT Inc. acknowledges and appreciates the assistance of the officers of the Australian Music Examinations Board and Trinity College London in the organisation of the 2017 Barbara Sisley Awards.

A HISTORY of the BARBARA SISLEY AWARDS The first Barbara Sisley Awards - in the form of scholarships to students gaining the highest marks in AMEB Seventh Grade and Grade Eight Trinity College London - were presented by The Art of Speech Association in 1947 at a students' recital. This annual event later became “The Barbara Sisley Recital”, with book awards being presented to the student gaining the highest mark in each grade for Australian Music Examinations Board and Trinity College of London Speech & Drama examinations for the preceding year. In 2017, the Barbara Sisley Awards celebrate the achievements of students who top the state of Queensland for Australian Music Examinations Board (Drama and Performance) and Trinity College of London (Speech and Drama) in grade, certificate and diploma levels from the previous year. Additionally, at the Awards Ceremony, the CSPT Inc. acknowledges the recipients of the annual Daphne Roemermann and Maibry Wragge Memorial Awards.

A PROFILE of BARBARA SISLEY Born in England in 1878, Barbara Sisley came to Australia with her family at the age of 11. She studied elocution under the tutelage of her father, Thomas Sisley, a civil service clerk who had qualified as a speech teacher in England. After attending Melbourne’s Manuel College she became an actress and played in various theatres in Melbourne and elsewhere. In 1916 she was touring in Brisbane and decided to make Brisbane her home.

She became a Speech and Drama teacher at St Margaret's Anglican Girls’ School in Clayfield, at Somerville House, South Brisbane and for the Brisbane Young Women’s Christian Association (YWCA). She also established the Speech Training and Dramatic Art private studio in the city. Barbara Sisley was an instigator of the Brisbane Shakespeare Society in 1920. In 1923 she took sabbatical to return to England to study with Elsie Fogarty at the Central School of Speech and Drama. She arranged for Miss Nell Douglas Graham to 15

conduct the studio in her absence and, on her return to Brisbane, Barbara Sisley introduced new teaching methods (both technical and literary) which gave a strong impetus to her studio.

In 1925 she and Professor J.J. Stable formed the Brisbane Repertory Theatre Society (today known as La Boite Theatre Company, the oldest theatre company in Queensland and second oldest in Australia). Her main roles for ‘Repertory’ were as Senior Producer, Director, Actor and General Committee member. Within a decade, Brisbane was also proud to have Twelfth Night Theatre and Brisbane Amateur Theatre (later to become the Brisbane Arts Theatre). The founders of the latter were Jean Trundle and her husband, Vic Hardgraves. Both Rhoda Felgate (founder of Twelfth Night Theatre) and Jean Trundle were from the studio of Barbara Sisley.

Barbara Sisley's love of theatre, and of other arts, developed for her a wide circle of acquaintances in arts organisations and she became a well-known figure in society - tall, elegantly dressed, with a resonant voice and a ‘positive’ personality. As an actor, she is remembered as Queen Elizabeth in Clemence Dane’s "Will Shakespeare" and for the leading role of the Duchess of Marlborough in "Viceroy Sarah", both these plays being produced by Rhoda Felgate.

Sisley’s studio and theatre productions developed many of Brisbane’s first actors and an outstanding group of Speech and Drama teachers including Clare Clarke, Rhoda Felgate, Hilda Hastie, Daphne Roemermann and Jean Trundle. The Barbara Sisley Awards were first established in 1947 in recognition of the outstanding contribution Barbara Sisley made to teaching and the Arts in Queensland

PERPETUAL AWARDS

Sister Mary Leonard Memorial Award - Trinity College London Initial and AMEB Preliminary Barbara Sisley Award recipients

Gilbert Auriol Luck Memorial Award - AMEB Preliminary Barbara Sisley Award recipients, regional Queensland

Maggie Lovejoy Memorial Award - Associate Diploma, Trinity College London (Teaching) Barbara Sisley Award recipient

Blanche Lather Memorial Award - Associate of Drama and Performance, Australia (AMEB) Barbara Sisley Award recipient

Endeavour Awards - Trinity College London, Grade 8 and AMEB Certificate of Drama and Performance, Australia (CDPA)

Maibry Wragge Memorial Award - most outstanding candidate in the highest level in Communication Skills syllabus, Trinity College London, in the preceding year

Daphne Roemermann Memorial Award - most outstanding candidate in the highest level of Voice and Communication syllabus, AMEB, in the preceding year

A PROFILE of SISTER MARY LEONARD

Sister Mary Leonard was a dedicated and caring teacher who had a very positive impact on all those who knew her or were her students. She taught not only Speech & Drama but also music for forty-two years at St. Ignatius School, Toowong (Brisbane). All students from Year Two to Year Seven had a Speech lesson each week and many of these she prepared for both TCL and AMEB examinations. The quality of her teaching is recorded in the results of the Barbara Sisley Awards over many years, as her students often “topped the state”. She pursued excellence in the speech of her students and was also concerned that they be courteous, sensitive and assertive communicators. The CSPT Inc. is proud to honour her memory with a perpetual award for TCL Initial and AMEB Preliminary Examinations as she ensured that her students always commenced their “learning about speech” with appropriate examination goals.

A PROFILE of MAGGIE LOVEJOY

Maggie Lovejoy was a member of the CSPT Inc. for nearly twenty years and contributed with enthusiastic and dedicated selflessness as its President, Editor of The Quarterly Voice and as a member of the Management Committee. Her own teaching spanned a period of more than thirty years and, over that time, she encouraged, enthused and developed skills in her students, always striving to achieve excellence. Maggie taught students from primary to adult level. Many of her students “topped” Queensland in both AMEB and TCL examinations and were acknowledged in the Barbara Sisley Awards. After a long battle with illness, Maggie passed away in 1996. The CSPT Inc. is proud to honour her memory with a perpetual award for Associate Trinity College London (Teaching) as she commenced the teaching and performing careers of many who now contribute in the field of Speech & Drama.

A PROFILE of BLANCHE LATHER

Blanche Lather was a member of the CSPT Inc. for over thirty years, and served on the Management Committee from 1981. In 1984, Blanche was elected to the position of President and remained so for three years. She was appointed to the Examiners' Panel for the AMEB in 1983 and served thereon for nine years. Her earlier career was in radio. She joined 4BC as a record librarian, served later as a Music Director and, finally, worked as Programme Director. She retired from radio station 4BC in 1974 after thirty years with that organisation. Upon retirement, Blanche returned to teaching Speech & Drama and was active with Twelfth Night Theatre, both as an actress and director. She also worked at the ABC for two years as voice coach to radio and television presenters. In 1994, she was entered into the Radio Hall of Fame by the Queensland Time Club “in recognition of outstanding contribution to the radio industry of Queensland”. In 2001, Blanche received a Commonwealth Award for Senior Australians for her work in the community (notably the Warana Drama Festival) and Speech & Drama in Queensland. Blanche passed away in 2004. The CSPT Inc. is proud to honour her memory with a perpetual award for Associate Diplomates of the Australian Music Examinations Board (ADPA), as she offered guidance and support for both students and professionals associated with the Performing Arts.

A PROFILE of GILBERT AURIOL LUCK

The CSPT Inc. is indebted to Gilbert Auriol Luck for her active and tireless work for the Association over many decades. Gilbert Auriol Luck, known as ‘Auriol’, was born in Barcaldine, Queensland. She studied in Townsville, eventually becoming a very successful teacher. From the late 1980s, Auriol developed a strong affiliation with the Association taking on various voluntary roles including Secretary, Referral Officer and Publications Officer. As Referral Officer, Auriol was the first port of call for many parents, students and eisteddfod convenors alike searching for appropriate teachers of Speech and Drama throughout Queensland. Auriol was renowned for her professionalism, warmth and helpfulness; in several ways, she was the face and voice of the Association for many years. As Publications Officer, Auriol ensured the timely production of resource materials and the Association’s journal, the Quarterly Voice. At the age of 75, Auriol Luck completed her Associate Diploma, Speech and Drama Teaching (ASDA, AMEB) for which she was a Barbara Sisley recipient. In 2007 she was given Life Membership of the Association for her outstanding service over a long period of time. The CSPT Inc. is proud to honour her memory with a perpetual award for the Barbara Sisley AMEB Preliminary exam recipient/s from regional Queensland.

A HISTORY of THE ENDEAVOUR AWARDS

In 1970, as Australia prepared to celebrate the bicentenary of Captain James Cook's exploration of the east coast, Association member Miss Marcia McCallum had a brilliant inspiration: that the - as it was named then - Speech Teachers’ Association should mark the occasion by presenting a programme of verse that was written over the previous two hundred years. A committee was formed; poems and music were chosen; and venues - the Centenary Hall, Brisbane School and Eton Hall, St. Margaret's School, Albion Heights - were booked for the 19th and 26th June, respectively.

The programme drawn up was to be spoken by a group of teachers, students and actors. A group of folk singers led by John Manifold would contribute. Most significantly, Marcia McCallum had an idea that a number of poets should be invited to select and speak some of their own verse. These were John Blight, Val Vallis, John Manifold, David Rowbotham, Rodney Hall, and Thomas Shapcott. Cecil Hadgraft, Senior Lecturer in English at the University of Queensland, prepared a script-narration which James Stephens would deliver. As well, the University assisted with preparation of slides to accompany the verse speaking.

The programme opened with an introduction by Rhoda Felgate; then followed a salvo of gunfire after which a selection from Kenneth Slessor's poem, Five Visions of Captain Cook, launched the programme. It also concluded with those famous words from the same poem:

"So Cook made choice, so Cook sailed westabout, So men write poems in Australia.”

The whole venture was an outstanding success, both artistically and financially. The fund provided the basis from which the Endeavour Awards have since been made. As well, it is worth noting that, following representations from the National Library in Canberra and the John Oxley Library in Brisbane, the programme was printed in a most attractive format - but not one was made available for sale. 18

The CSPT Inc. acknowledges the contribution of all concerned (most especially Marcia McCallum) ; those who prepared and presented the programme and, particularly, the poets who have given us such a rich heritage. The Endeavour Awards are presented to Barbara Sisley Award recipients for Trinity College London Grade 8 and AMEB Certificate of Drama and Performance examinations.

PROFILE of DAPHNE ROMERMANN

Daphne Roemermann was a teacher of Speech and Drama for 40 years until 1983 and an Examiner for the Australian Music Examinations Board from 1952 for 31 years. She was Past President of the Communication, Speech and Performance Teachers Inc. and a member of the Federal Speech and Drama Authority (1976-1981). From 1976-1983, she was Permanent Speech and Drama Representative on the AMEB Queensland Committee. She held a position on the Board of the Queensland Arts Council. Daphne Roemermann was also a director and actor for The Brisbane Repertory Theatre and Brisbane Arts Theatre. Additionally she was a foundation member of Twelfth Night Theatre where she acted for several years. In 1981 Daphne Roemermann was awarded an OAM for service to education, particularly in the field of Speech and Drama.

PROFILE of MAIBRY WRAGGE

Maibry Wragge was one of the founding members of the Communication, Speech and Performance Teachers Inc. in 1939 (then known as the Art of Speech Association). She had a Speech and Drama teaching practice in Ipswich and taught at Ipswich Girls’ Grammar School, later establishing a studio in King House in Brisbane. Maibry Wragge gave constant support to the Association as President, Secretary and Council Member and remained on the Committee for over 21 years. She was awarded the first Honorary Life Membership of the Association for her enthusiasm and untiring work.

COMMUNICATION, SPEECH AND PERFORMANCE TEACHERS INC. The Communication Speech and Performance Teachers Inc. was established in May 1939. Over the years, the Association has been named The Speech and Drama Teachers’ Association of Queensland Inc.; The Speech Teachers' Association of Queensland; The Queensland Art of Speech Association and The Art of Speech Association. The original aims of the founding group, The Art of Speech Association, remain: to foster an interest in Speech, Drama, Voice, Communication and Effective Speaking through the professional development of teachers and students. The original objects of The Art of Speech Association were 'to promote and encourage the cultivation of spoken English' and 'to unite in closer relationship all those who are actively engaged professionally in teaching the Art of Speech, and all those interested in and working for the advancement of spoken English'. The Communication, Speech and Performance Teachers Inc. provides a range of professional services to its members, most of whom reside in the south-eastern corner of Queensland and northern New South Wales. However, the Association has a significant membership in other Australian states.

Patron of the CSPT Inc. - Dr Bruce Dawe AO

Honorary Life Members

Miss Beverley Langford (1998) Mrs Beres Turner OAM (2006) Miss Fay Muir (1998) Mrs Patsy McCarthy (2007) Mrs June Finney (2004) Mrs Rowena Luck-Geary (2015) Dr Jillian Clare (2006) Mr Stephen Robinson (2016)

(Year indicates the time at which Life Membership was conferred.)

Coordinators of the 2017 Barbara Sisley Awards

Mrs Helen Steele and Mrs June Finney

Please note that the results and names of award recipients and their teachers are provided to the CSPT Inc. by the Queensland Office of the AMEB and the Australian National Office of Trinity College London. Any errors, inaccuracies or omissions in the information provided to the CSPT Inc. concerning the results and names of award recipients and their teachers is solely the responsibility of the Queensland Office of the AMEB and the Australian National Office of Trinity College London, to address. It is not the responsibility of the CSPT Inc. to address or correct any errors, inaccuracies or omissions, or to change or update information as published in this program as provided to us by the offices of the Queensland office of the AMEB and the Australian National Office of Trinity College London.

Address from the Guest of Honour, Thomas Larkin 71st Annual Barbara Sisley Awards Evening, Saturday 27 May 2017

"Honorary President, Life Members, teachers, family, friends and of course the award recipients, good evening. It gives me great pleasure to join you this evening as an invited guest for the 71st Annual Barbara Sisley Awards.

When David originally invited me to speak tonight I must admit, while her name was familiar, I realised I knew very little about Miss Barbara Sisley. So I did what any person in 2017 would do…I googled her. The extent of Barbara’s influence on Queensland’s Arts community became quickly apparent. So wide was Barbara’s influence that through her reputation, enthusiasm and sheer dedication she was one of the crucial instigators behind the formation of the Brisbane Repertory Company, now known as La Boite Theatre Company. This holds special significance for me, as in 2010, I made my professional debut at La Boite, taking on the role of ‘Horatio’ in Hamlet. This was also significant as it marked then Artistic Director David Berthold’s directorial debut for the company, heralding a wildly successful period for La Boite and ensuring it remains to this day to be not only a leading artistic company in Brisbane and Queensland, but also across the nation. Despite 65 years having passed since Barbara’s death, her devotion and commitment to the Arts is still evident today. Were it not for her tireless work throughout the course of her life, I may not have had the opportunity and privilege to stand on stage and perform the words of Shakespeare to a sold-out audience every night. I certainly would not have been able to step into the shoes of ‘Marc Antony’ in Julius Caesar, ‘Orlando’ in As You Like It or even the ‘Scarecrow’ in The Wizard of Oz as I did in productions at La Boite. In fact, chances are I also would not be here right now, having the honour of speaking to you. I can only imagine the multitude of stories that so many of you in this room also have about how Barbara influenced your life, artistic pursuits and careers. To me, that is the mark of greatness.

I was not lucky enough to have the benefit of Speech and Drama training, complete with AMEB or Trinity College examinations or eisteddfods, recitals and more. My first exposure to Barbara’s wide influence was through La Boite, where I ultimately arrived largely due to the subject of Drama at High School. I was exceptionally fortunate to attend St. Joseph’s College, Gregory Terrace. While there, anything and everything sport related caught my attention. However, it was the Drama department (led by the late and great Sandra Hines) that really captivated me. I arrived at the front gates of Gregory Terrace in 1998 as a short, pale, freckly-faced kid with braces (only two of those things have since changed). At school, I found myself completely overshadowed by all the other students and their bold, gregarious personalities. I was a very physical child who struggled to focus and sit still. In fact, I still do. I would have much preferred to stand on top of my desk than sit behind it. I was also surprisingly shy when it came to expressing myself; the only way I knew how to communicate was on the sporting field. In my early years at high school, I developed a genuine fear for public speaking. At that time, the thought of me speaking here before you now would have been unimaginable.

In Year 8, thanks to its fortunate inclusion as a compulsory course of study at Terrace, I first encountered the subject of Drama. Had it not been something that the school valued enough to be mandatory for all students; I may never have been exposed to Drama. Thank goodness I did, because it was unlike anything I had ever experienced before. Drama provoked and encouraged a curiosity within me. A curiosity to probe and investigate and to engage my imagination through my voice and body. To make choices as I explored dramatic text. Drama is not a passive experience; it is an active one. As a per- former, you cannot afford to sit back and simply recite text. Your mind must actively engage through the words in front of you. The words cease being simply letters grouped together on a page; they become a living thing. When engaging with words in this fashion you must discuss and critically evaluate them, sometimes you must even study the psychological complexity behind them. The effect that Drama, or Speech and Drama, Performance, Voice and Communication, has on students from all backgrounds and experiences consistently moves me. Drama has a profound impact on our social development. It encourages us to analyse text, to be creative, to work as a team, to challenge our own ideas, explore characterisation, understand how to build tension and helps us interrogate human motivation.

Award recipients - the preparation, the rehearsals and the hard work that all of you have done to be sitting in this room right now, has informed your emotional and personal development in more ways than you are yet to realise. The advantages that you will continue to enjoy over the years thanks to these extra curricular studies will place you in an excellent position to be a highly successful, empathetic, personable and professional employee, colleague, family member and friend. You already have a head start on your life. Some of you may pursue a career in the performing arts while many of you will go on and explore politics, medicine, mathematics, law, journalism, business, education, become an entrepreneur or fulfil professional roles that are yet to exist. How- ever, regardless of the pathway you follow, all of you will call on the skills you have practised and learnt during your time in Speech and Drama, Performance, Voice and Communication. These studies provide key transferable strengths that are fundamental to any industry, and indeed throughout your entire life. Employers look for qualities such as those developed in Drama; they want people who can think for themselves, work in a team, listen to others, negotiate and present themselves in a range of professional and personal situations, having mastered the art of both speaking and listening as well as other crucial aspects of face-to-face communication, which is becoming increasingly rare. As the great Dame Julie Andrews of The Sound of Music notoriety said in her 2017 essay penned to US President Donald Trump as he threatened to cut arts funding; “the arts are among the most profoundly important and valuable ways to improve learning and promote success, from early childhood through adulthood.”

I stand here as someone not lucky enough to have had the benefit of a Speech and Drama education to compliment my schooling. Many of you have no doubt spent the good part of your formative years going to private lessons and sitting AMEB and Trinity College exams and for some of you sitting here, you are just commencing what could be a long and enriching pursuit. Whether it be tonight or in the coming days, thank your parents and family who have nudged you into it or been willing to support your desire to take these classes and sit these exams. They are championing your cause and placing their faith in your goals. Next, find your Speech and Drama teachers who have pushed you beyond your own personal expectations to meet and exceed your potential, who have taken the time and heart to help you realise this incredible achievement of top student in the state in your examined field. Be grateful that in a world increasingly dominated by technology where interpersonal interactions fall prey to social media platforms, apps and digital connections, that there are those who continue to teach and run Drama studios. Finally, despite at times feeling overwhelmed by schoolwork, tired from sporting practice, wanting to spend time with friends, catch up on the latest NETFLIX series, read or just sleep, thank yourselves for your commitment to your learning and for striving to be the best version of you. I encourage you to continue to pursue the art of communication, speech and performance. You have been equipped with essential tools for life. The future is full of uncertainties but holds an abundance of opportunities. The skills with which you are armed provide you with a great advantage compared to that of many of your peers. I encourage you to nurture and utilise these and to explore their application in every area of your life. You hold the advantage, have a head start and have secret clues to help you get ahead.

I wonder now how my life might have been different had I commenced Speech and Drama lessons in primary school … what I do know is that it would have been a very different young boy who approached those gates at Terrace in 1998. Thankfully, the inclusion of Drama in my schooling put me on the right path. While not quite the same as the course work you all undertake in your AMEB and Trinity studies, Drama also plays a crucial role in one’s artistic and personal growth, as President David Cockburn, who also fulfils the role of Head of Drama at Iona College, can attest.

My warmest congratulations to all involved. What started with Barbara Sisley over 70 years ago is today a community rich in their shared pursuit of shaping and being well-rounded, successful individuals who value that life is about the connections we make, and our ability to effectively engage in and develop these. Thank you for allowing me to make many more connections myself tonight as I share in this celebration with you all. I look forward to inevitably crossing paths with many of you as I continue my career and further studies in the Arts and performance. It fills me with great hope that there are many generations set to continue in the path of the likes of Barbara and even of me, albeit much better equipped for whatever ‘gates’ they may stand before in the years to come." 21 1997 1997 1998

"The story gripped me from the first page and if Harry Potter and the Harry Potter and the my parents hadn't made me go to bed I would Philosopher's Stone is Chamber of Secrets have read it in one go. It's like an imagination in published by Blooms- is published. It went bury, with a first run of straight to the top of overdrive." just 1000 copies. three US bestseller lists.

- Jill, 12 in 1997 having read the brand new Harry Potter and the Philosopher's Stone for the first time.

2017

The world celebrates 20 years of Harry Potter. Celebrating 20 Years 2016

Fantastic Beasts and Where to Find Them is released as a movie - the first Harry Potter film to OF win an Academy Award.

Harry Potter and the Cursed Child opens at the Palace Theatre London, on 30 July.

Three new e-books of the Harry Potter universe are released on Pottermore. Harry Potter 2012 2011 2010

Pottermore, an online extension Harry Potter and the Deathy Hallows: Part 2 is Harry Potter and the Deathly of the Harry Potter universe, is released as a movie - the eighth and final Hallows: Part 1 is released as unveiled. instalment of the movie franchise. a movie.

It became the highest-grossing film of 2011, the Harry Potter Wizarding World highest-grossing film in the Harry Potter series, opens at Universal Studios, and the ninth film to gross over $1 billion. Florida.

2017

"20 years ago today a world that I had lived in alone suddenly opened to others. It's been wonderful. Thank you."

- J.K. Rowling in 2017 on Twitter

22 1999 2000 2000

Harry Potter and the Prisoner "The fantasy writer's job is to conduct Harry Potter and the Goblet of of Azkaban is published. She the willing reader from mundanity to Fire is published. started to write it the day after magic. This is a feat of which only a finishing Chamber of Secrets. superior imagination is capable and 2001 Rowling possesses such equipment." Harry Potter and the Philo- spher's Stone is made into a - Stephen King movie, starring a young Daniel Radcliffe as Harry.

Quidditch Through the Ages and Fantastic Beasts and Where to Find Them is published.

2002

Harry Potter and the Chamber Celebrating 20 Years of Secrets is released as a movie.

2003 OF Harry Potter and the Order of the Phoenix is published. Five million copies were sold in the first 24 hours of publication.

2004

Harry Potter and the Prisoner of Azkaban is released as a movie. It grossed a total of $796.7 million Harry Potter worldwide. 2009 2007 2005

Harry Potter and the Half-Blood Tales of Beetle the Bard is published. Harry Potter and the Goblet of Prince is released as a movie. Fire is released as a movie, be- Harry Potter and the Order of the Phoenix ing praised for the higher level It remains one of the most posi- is released as a movie. of maturity and sophistication of tively reviewed films in the series its characters, plotline, writing, among film critics. Harry Potter and the Deathly Hallows and performances of the lead is published. actors.

Harry Potter and the Half-Blood Prince is published. DID YOU KNOW...

Over 400 million Harry Potter books in 67 languages have been sold worldwide as of 2008.

When Harry Potter and the Prisoner of Azkaban was released in Great Britain, the publisher asked stores not to sell the book until schools were closed for the day to prevent truancy.

In order to become acquainted with the films’ three main stars, director Alfonso Cuaron had each of them write an essay about their characters. True to their characters, Emma Watson wrote a 16-page essay, Daniel Radcliffe wrote a simple, one-page paper, and Rupert Grint never even turned his in.

J.K. Rowling is the first person to become a billionaire (U.S. dollars) by writing books. 23 Deepen Performance Recently, 12 CSPT Inc. members participated in a 10 week workshop series with Jennifer Flowers and Dianne Eden of Double Act Studio each Wednesday night at Iona College, Lindum.

From Dianne Eden and Jennifer Flowers: We set up Double Act Studio so that we could bring our collective skills to bear on the deep exploration of free and expressive voice work, penetrating text analysis and an acting process which was organic and truthful. Our participants are, for the most part, talented individuals with long years of experience, so it's beneficial for them to have an opportunity to refresh and deepen their practice. Dianne led the group through a version of Kristin Linklater's classic progression, to find balance between emotion, intellect, body and voice, and Jennifer flexed creative muscles with the deceptively simple but illuminating Sanford Meisner acting processes which bring performers back to the necessity of living truthfully in imaginary circumstances. We worked collectively with Shakespeare monologues, the Spoon River Anthology (an excellent vehicle for the exploration of character and sub text) and on contemporary scenes which gave everyone a chance to work towards a complete scene within a play. As in all workshops, it's the process of diving into the work and wrestling with it which is most gratifying and ultimately, the most rewarding part of working together.

The next Deepen Performance course will be held Wednesdays 6-9pm, September 6 – October 26 2017 Brisbane Worker’ Community Centre, 2 Latrobe Terrace, Paddington Fee: $400.00 Acting, voice and speech, monologues, scene work. Small group. Individual attention. Grow and enrich your performance skills in a challenging but nurturing environment, extend your vocal potential, extend your emotional range, feedback and stimulation to achieve richness and depth in each performance.

Enquiries: Dianne (0438685531 or [email protected]) www.doubleactstudio.com.au

The 12 workshop participants with Dianne Eden and Jennifer Flowers (centre). 24 From Helen Galea: Thank you, thank you, thank you! 12 members of the Association are indebted to your kindness for giving us the privilege of working with Dianne Eden and Jennifer Flowers.We learnt skills in relaxation, breathing, the importance of resonators for quality vocal work. We were encouraged to ensure we delved deep into our characters to bring them to life. The who, what, where, when, and why of each piece. We were encouraged to find the journey of each piece and bring the character to life. During the course I purchased a copy of Freeing the Natural Voice by Kristin Linklater, and was enlightened in so many areas. Tension in any part of the body KILLS sound. Jennifer and Dianne were very generous and honest with all of us. On the final night, visitors were invited to ob- serve in a Masterclass of our work. We all appreciated members of the CSPT attending, along with family members. The final night was not the end, it is merely the beginning for many of us. Learning is a lifelong experience. Thank you from the group of twelve members who appreciated such an experience with funny, kind and generous trainers.

From Louise Thorpe: The course provided a greater insight into voice production and deeper character engagement. Often as teachers, we may cut corners due to time constraints and poor habits, where we try to stage a student's work rather than allowing it to develop through a guided creative process. The workshop highlighted the importance of being flexible when developing performance that emerges from a true dissection and analysis of the text and its embedded intentions. The result of the workshop's method, was a clear progression of enabling us as performers to develop at an organic level (working from the roots up); keeping the text fresh whenever it was revisited.

From Naomi Middlebrook: It was a privilege to be selected to work with Jennifer & Dianne. From a teaching perspective it was most beneficial to be the student and be guided on a journey exploring voice, body, acting processes and script analysis. As participants we were exposed to new approaches to our teaching practice and reminded of skills needed to develop voice and text. Our focus was on giving, receiving, connecting, the power of verbs and the phrase. We were exposed to something old and something new in relation to literature. We developed a newfound respect for the haiku. Jennifer and Dianne are a dynamic, generous and sagacious duo, always encouraging. Many thanks to the CSPT Management Committee for making this opportunity possible. I encourage other members of our Association to consider participating in a "Deepen Performance" Workshop - you won't be disappointed!

From Megan Shapcott: It was just fantastic to connect and get to know some of the other teachers a bit better. I felt empowered as a private studio teacher to feel that I was not alone. It was so helpful to be exposed to the vocal exercises and wonderful training in voice of Di Eden and I feel I have benefited greatly with a deeper connection to interpreting text with all of Jennifer Flowers' ideas , exercises and approach to interpreting text. It's great to know that this can all be passed on to my students when working on their pieces. So helpful. Thank-you so much.

From Marg Rowell: I have to admit that I was excited and petrified to have been given the opportunity to work with two such esteemed professionals. Once I got past my terrible fear of failure I began to relax and really learn. I particularly enjoyed the "Spoon River" poems and the haiku; receiving excellent direction on preparation and delivery of poetry. Invaluable lessons for me to pass on to my students. In the end when I finally got the hang of it, I benefitted greatly from the exercises where you had to notice something about your partner and keep repeating the same word or phrase to find a connection - great for concentration and focus. To top off the experience I met some fantastic women and performers. Thank you CSPT! I feel invigorated in my craft and teaching.

From Cathy Clur: The classes were a wonderful opportunity to step out of the role of the teacher, and into the role of actor. It's been a while! I particularly loved the work on listening and responding to your partner "in the moment" and paying close attention to the text, especially italics and punctuation. It's been quite remarkable to bring this awareness to my own teaching, and see some wonderful results from students. I would highly recommend the program to all teachers, and would like to thank Jennifer, Dianne and CSPT Inc for the opportunity to par- ticipate. 25 A Night at the Theatre Queensland Theatre presents "Noises Off"

Photo courtesy of Australian Arts Review.

REVIEWED BY Talisa Pariss

Noises Off is an hysterically funny, off-the-wall comedy presented by Queensland Theatre at QPAC these school holidays. This show-within-a-show followed the antics, relationship twists and turns, and creative stress of the final rehearsal and then opening night of a London theatre production.

On face value, the show built very slowly into a farcical mess of an opening night for the production. It follows the plight of a Director who can’t quite get his actors to remember their unnecessarily compli- cated blocking, a young Stage Manager whose career is consistently threatened as she tries to juggle multiple cords, scripts, props and disappearing actors, and a troupe of performers whose relationship dramas cause scenes of revengeful pranking on each other backstage.

This production demonstrated a masterful understanding and use of slapstick, comedy and poignant timing. It was quite clear as the show went on that the direction, staging and acting in this piece were all timed to perfection, with just the right amount of spontaneity to make you truly believe (ironically) the actors had no idea what they were doing. In fact, one of the most amusing elements of the show was its feeling of involvement. While anyone in theatre could relate to what was happening onstage it was the cast members who created a true sense of camaraderie with the audience that was unde- niable. They held us in their palms from start to finish.

Fun fact - the laughter reels featured during the show were actually recorded at a panel event that Queensland Theatre held to kickstart the showing of Noises Off. A revolving stage allowed the audience to first be involved in the rehearsal process as a true “audience”, and then to bring us backstage as the drama of relationship fallouts caused actors to fall down stairs, appear through the completely wrong entrances (much to the dismay of their onstage peers), get props hilariously confused or even find themselves attempting to prevent a castmate from becoming rip-roaringly drunk on alcohol bought to schmooze the leading lady.

The show incorporated elements that gave any thespian a whiff of relevance (and a good laugh) - the Director’s increasingly frustrated ‘voice from above’, or whilst everything crumbles backstage, the frazzled stage manager and prop master end up announcing the audience calls so many times (unbe- knownst to each other) that the audience are left in shambles, or even when, in an effort to replace an AWOL actor, three castmates dress up as him and end up onstage all at once. Anyone who has ever been involved in theatre understands.

I would see this show again and again for both the great laughs and my amazement at the mastery of the comedy, I would encourage anyone to get along to it when it is showing near you. BREAKING THE FOURTH WALL 26 Three Ways to Use Storytelling Dice

1) Develop Characterisation and Spatial Awareness

Throw a die and whatever the picture is, the students can use that stimulus to develop a character with physical and vocal expression. Encourage students to develop spatial awareness by having their character interact with their environment.

2) Teach Narrative Understanding through Storytelling

Have your students sit in a circle and take turns at rolling a die. The picture the die lands on can be used as stimuli for the student to “add” to the current story one sentence at a time. Students must continue the narrative properly, including characterisation, and build to a climax then a resolution.

3) Encourage Communication Skills

Throw multiple dice but do not look at the pictures. The students memorise the pictures but do not reveal them, scramble them up, then give them back to the teacher. They must then as individuals or as a group, act out the improvised scene (complete with dialogue, characters and a narrative storyline), making sure to be clear about their stimuli so the teacher can guess which pictures the dice landed on.

You can make your own story cubes (printable versions and DIY instructions are online) or you can find Rory's Story Cubes at https://www.gamesmen.com.au. 27 THE ROLE OF SPEECH AND DRAMA IN SUPPORTING CHILDREN’S SOCIAL-EMOTIONAL DEVELOPMENT by Joanna Ratcliffe

Joanna Ratcliffe is a freelance theatre maker and speech and drama teacher based in the Moreton Bay region.

“Ooh, look what I’ve discovered!” The children gather around me as we crouch down to look at the plain grey carpet of the classroom. We’re not really in a kindergarten, though, but on a journey through a wild and beautiful forest. “What is it?” I ask. The children consider. “A beautiful flower,” suggests a little girl to my right. “It’s magic,” adds a boy on my other side. “I think you’re right,” I respond. “It is magic!”

When my son’s kindergarten teacher asked me to consider teaching a drama class for the three- and-a-half to four-and-a-half year olds in her care, I was wary to do so, unsure what children so young would get out of it. Besides, having taught private drama classes for years, I’d been relieved to lay it all down to raise my two little boys, tired of doing too much entertaining and babysitting when what I wanted was to be engaged in meaningful work. So when I accepted the challenge, I had no very high expectations of either the children or myself getting much out of the experience. In the past year, I have been proved wrong. Teaching two kindergarten classes a week has not only reinvigorated my practice, it has opened my eyes to what an exciting and useful tool speech and drama can be for young people. In this article I hope to share with you my experience in this area.

It has been well documented that ‘make believe’ or imaginative play in young children has benefits such as the development of empathy, increased language use and social skills such as negotiation and communication (see www.psychologytoday.com for various studies on the subject). At the same time, with increased screen time and greater structure in children’s lives, the opportunity to practice this important ‘learning’ is limited. The kindergarten teachers who invited me into their classrooms spoke of students who were only engaging in low level animal play eg. roaring at each other, or struggling to maintain simple ‘home corner’ scenarios without adult support. In order to strengthen their social-emotional development, therefore, we decided my curriculum focus would be on three areas: imaginative play, the recognition of emotions and social skills.

In developing lessons, the challenge has been to provide suitable structures and games that work for very young children. To this end I have primarily used storytelling, roleplays and imagination games.

STORYTELLING

Rationale: Storytelling helps a child to develop empathy and ‘theory of mind’ – the understanding that other people have different feelings, thoughts and points of view from their own. In a pre- school drama class, reading a story and then acting it out gives children the chance to ‘be’ someone else and to act and think like another person.

My experience: I have found that simple tales work best, reading the story aloud, then choosing ‘helpers’ to act out the roles the second time through. To avoid tears (common in this age group), I have found it useful to include a role the rest of the class can play, like the Wolf in "The Three Little Pigs" or the Troll in "The Three Billy Goats Gruff."

Resources: “Yummy”, a compilation of standard nursery tales by Lucy Cousens, author and illustra- tor of the Maisie books; “The Gruffalo” by Julia Donaldson. 28 ROLEPLAYS

Rationale: Roleplays enhance students’ social interactions. They help them to problem solve, read emotions and develop negotiation skills.

My experience: Roleplays with this young an age group need to be well structured. With a straightfor- ward role play I model a situation first, invite a student to join me, then step out and allow two students to interact. Many children will still need support, suggestions or encouragement at this stage. A whole group scenario can be difficult (for example a restaurant scene or a fire and rescue situation), but is achievable with the support of teacher aides or other helpers. My biggest success with this age group, however, has been in the use of forum theatre (developed by practitioner Augusto Boal). Forum theatre enables the audience to stop the scene and intervene, suggesting a different course of action for the actors, or replacing the actor and acting out a different path. For example, in one lesson I asked two students to come up and told them that they both wanted to play with the same doll. They both tried to hold onto the doll, pulling it back and forth, until the doll landed on the floor. I stopped the scene and asked the audience what the actors had been feeling. “Grumpy!” they called out. “And sad at the end, because the doll was on the ground.” I then asked what else they could have done. Some suggested that they should have shared the doll, so we tried the scene again, but the two actors didn’t quite know how to manage it. “Take turns!” one child offered as an alternative suggestion. I invited her up to take an actor’s place. She re-enacted the scene, taking turns with the other child and resolving the situation.

Other Structures: Bus driver (teacher plays the bus driver and invites a student up to pay the bus fare, sit beside the driver and have a conversation about where they’re going); Teacher-led roleplays (eg. leader an- nounces they’re having a tea party and asks what should happen, invites helpers to set the table, be guests etc)

IMAGINATION GAMES

Rationale: Imagination games stimulate creativity, develop neurological connections and help children to discover the world around them.

My experience: Starting and ending with an imagination game helps to give a clear structure to the class and involves everyone. The more I let the children take the lead in these games, the better it works. I do this by giving opportunities for suggestions or asking questions and then following them up. I will often take them on an imagination journey where they move through the space and I suggest different land- scapes or experiences to them. When I ask them what something looks like or what they can see around them, their ideas are often better than mine.

Games: “The Room is Full Of…” (imagining that the room is full of whatever you or the kids can think of and they have to get across eg. honey, cobwebs, snow, crocodiles); “Yes Let’s” (Teacher calls out “Let’s be…soldiers!” or any kind of character or animal and the class moves around the space as that character).

My experience over the past twelve months has taught me that listening to children, inviting their involvement and letting them lead, creates a deeply satisfying outcome both for student and teacher. Watching pre-schoolers find solutions to their own problems, name how someone is feeling and negotiate social situations has caused me to recognize the value in what all speech and drama teachers do on a regular basis. Teaching characterization and encouraging students’ imagination goes far to supporting the learning of empathy, socio-emotional understanding and alternative perspectives on life and the world around us. In my mind, that’s worth doing.

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Email the Editors - [email protected]. 29 A 25 minute exploration of imagination for young ones in storytelling, mime, puppetry, and characterisation. ISTARTm HERE! agination Map

5 MINUTES

Raid the costume box and create your Imagination Explorer!

What do they look like? How do they walk? How do they speak?

Give your Explorer a name!

5 MINUTES

In a pair or group, mime throwing/rolling/bouncing an imaginary ball to each other.

On each throw, the type of ball changes. What is the shape, size, and weight of this new ball? How do you use this ball?

For example, the first participant might decide their imaginary ball is a ping pong ball. They hold it lightly between their fingers and toss it to the next person. The next participant might decide to roll a very heavy bowling ball to the next person, and so on. 30 ImagiAn 25 minute explorationa oft imaginationi foro young onesn in storytelling, mime,M puppetry, and characterisation.ap 10 MINUTES

Download the Imagistory app onto an iPad. This app contains 'wordless' picture books, encouraging the Explorer to be the narrator. You can even record the student's voice as they tell the story and listen to it again later!

Allow the Explorer to hold the iPad and prompt the Explorer to describe what they see on the screen and tell the story one image at a time.

5 MINUTES

Reimagine a fairytale the Explorer knows well using puppets. Create your own or use hand puppets - anything is possible!

What would happen if the Big Bad Wolf got lost in the woods on the way to Grandma's? What other kinds of food could Goldilocks have tasted at the Three Bears' house? Tell your own version.

FINISH! 31 The following is a list of Speech & Drama eisteddfodau to be held in South-East Queensland in 2017. Convenor contact details are shown here for your convenience. If members know of others, please contact the QV Editors.

ENOGGERA & DISTRICT 31st Quota International of Eisteddfod BEENLEIGH Eisteddfod Dates TBA 15 – 20 August Entries close 19 May Laurel Muirhead – 0419 251 698 [email protected] Larraine Pimm-Verrall - 07 3804 0488 [email protected] SILKSTONE Eisteddfod (IPSWICH) Dates TBA BRISBANE Eisteddfod 1-11 August Chris Lloyd and Di Johnston – Entries close 4 June 07 3202 1431 www.gleberd.com.au/community/ Jem Hill eisteddfod [email protected]

GOLD COAST Eisteddfod CITY OF TOOWOOMBA Eisteddfod 5-14 September Part 1: 4 / 15 May (Groups) Entries close 5 May Entries closed

Naomi Middlebrook Part 2: 27 July – 11 August (Solos) [email protected] Entries close 22 May

SUNSHINE COAST Allana Noyes – 0468 644 687 Junior Eisteddfod [email protected] 28 – 31 July Entries closed IPSWICH Junior Eisteddfod 15-19 May Robyn Ernst Entries closed www.scje.org.au David Berlin and Kathy Wilson WYNNUM-MANLY Eisteddfod speecheisteddfodipswich 20 – 27 May @gmail.com Entries closed MURWILLUMBAH Margaret Redfern – 07 3396 6960 Festival of Performing Arts [email protected] From 15 June

124th GYMPIE QUEENSLAND Kay Robinson - 07 5590 5723 Eisteddfod 14 - 16 April REDLANDS EISTEDDFOD Entries Closed Dates TBA

Secretary P.O. Box 793 Barbara Gordon - 0412 543 668 GYMPIE Q 4570 P.O. Box 5435 ALEXANDRA HILLS Q

2017 EISTEDDFODS 4161 32 AUSTRALIAN COLLEGE OF MUSIC (ACM) eXAMINING BODIES www.australiancollege.org

Please direct any enquiries to: Helen Scruton PO Box 7295 EAST BRISBANE LPO QLD 4169

Phone: 0408 345 376 Email: [email protected]

AUSTRALIAN MUSIC EXAMINATIONS BOARD (AMEB) www.ameb.qld.edu.au

Please direct any enquiries to: 9 Nathan Avenue ASHGROVE QLD 4060

Phone: 07 3634 0933 Email: [email protected]

AUSTRALIAN SPEECH COMMUNICATION ASSOCIATION (ASCA) www.australianspeechcommunication.com

Please direct any enquiries to: Mrs Genevieve England PO Box 1254 TOOMBUL QLD 4012

Phone: 07 3857 5984

TRINITY COLLEGE LONDON www.trinitycollege.com.au

Please direct any enquiries to: Mr Kevin Gallagher Drama and Speech Representative for Brisbane, Toowoomba, Ipswich and Sunshine Coast

PO Box 2230 WELLINGTON POINT QLD 4160

Phone: 07 3488 2604 Mobile: 0403 233 268 Email: [email protected] 33 HAVE YOU RENEWED YOUR MEMBERSHIP FOR 2017? Access to the online Members' Area, including our online Teachers and Adjudicators referral service

Public Liability insurance

The remaining 2017 editions of the Quarterly Voice

You can now renew your membership online and pay via EFT at

www.csptinc.org.au 1. Log in with your username and password 2. Click on Members' Area on the top menu bar 3. From the drop-down list, select Membership Renewal

34 magic

We have the power to imagine better. J.K. Rowling

35 Quarterly Voice Edition 2 2017 REMOVABLE RESOURCE PAID POSTAGE AUSTRALIA 100022654 POST PRINT

THE QUARTERLY VOICE THE QUARTERLY to: If undeliverable, return CSPT Inc. c/o Katrina Roberts Road 28A Youngs HEMMANT QLD 4174 36