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Programmes, Visiting Artists and Companies Ephemera PR8492/1950-1959 to View Items in the Ephemera Collection, Contact the State Library of Western Australia
Programmes, visiting artists and companies Ephemera PR8492/1950-1959 To view items in the Ephemera collection, contact the State Library of Western Australia Date Venue Title Author Director Producer Agent Principals D 1950 January Marquee Puss in Boots Bruce Carroll Bruce Carroll Eric Maxon 0 Theatre Edgar Rogers Noreen Rogers ____________________________________________________________________________________________________________________ April 10 His Majesty's "Annie Get Leo Packer Carl Randall J.C.Williamson Victor Carell 1 Theatre Your Gun" Theatres Ltd Wendy Selover Irving Berlin Wilfred Stevens ____________________________________________________________________________________________________________________ May 25 His Majesty's The Mikado Leo Packer Anna Bethell J.C.Williamson Jon Dean 1 Theatre Gilbert & Theatres Ltd Richard Walker Sullivan Leslie Rands Ivan Menzies Bernard Manning Muriel Howard Marjorie Eyre Nancy Rasmussen Evelyn Gardiner Richard Bengar ____________________________________________________________________________________________________________________ June 3 His Majesty's Pirates of Leo Packer Anna Bethell J.C.Williamson John Dean 2 Theatre Penzance & Theatres Ltd Helen Roberts Trial by Jury Evelyn Gardiner PR8492/1950-1959 Page 1 of 40 Copyright SLWA ©2011 Programmes, visiting artists and companies Ephemera PR8492/1950-1959 To view items in the Ephemera collection, contact the State Library of Western Australia Date Venue Title Author Director Producer Agent Principals D Gilbert & Sullivan Leslie Rands Richard -
A New Perspective on the Presley Legend
JULY, 1986 Vol 10 No 6 ISSN 0314 - 0598 A publication of the Australian Elizabethan Theatre Trust A New Perspective on the Presley Legend ARE YOU LONESOME TONIGHT? by Alan Bleasdale Directed by Robin Lefevre Designed by Voytek Lighting designed by John Swaine Musical direction by Frank Esler-Smith Cast: Martin Shaw, David Franklin, Peta Toppano, Marcia Hines, John Derum, Lynda Stoner, Mervyn Drake, Ron Hackett and Jennifer West Her Majesty's Theatre heap of foil-wrapped Cadillac bon A nets (or is it crushed Cadillacs) form a stage upon a stage to set the mood for ARE YOU LONESOME TONIGHT?, Alan Bleasdale's play with songs about the life and death of Elvis Presley. On the lower stage, Gracelands, the garish pink Presley mansion with its outrageous chandeliers, is portrayed. Here, on the last day of his life, is "The King", now ageing, bloated, pill-popping and wear ing a purple jumpsuit and sunglasses. He watches his old movies and fumes because one of his trusted "aides" is ex posing his secrets to a newspaperman. In a series of flashbacks, Elvis relives his earlier experiences, the death of the twin brother whom he believes was his alter ego and stronger half, the death of his mother while he was a GI in Ger many, and the adulation poured on him as the lean, sexy king of rock. HiS manager, Colonel Tom Parker, is por trayed as his manipulator, holding a Presley dummy and gloating over the Martin Shaw as the ageing Presley in ARE profits. LONESOME TONIGHT? and (inset) as himself Author Bleasdale wrote the play to achieve a personal vindication of Presley, London critics were not always kind of $9.00 per ticket). -
Phillip Street Theatre
COLLECTION FINDING AID Phillip Street Theatre Performing Arts Programs and Ephemera (PROMPT) Australian ColleCtion Development The Phillip Street Theatre (sucCeeded by the Phillip Theatre) was a popular and influential commercial Sydney theatre and theatriCal Company of the 1950s and 1960s that beCame well known for its intimate satiriCal revue produCtions. William Orr was the Company’s founding DireCtor of ProduCtions, and EriC DuCkworth was General Manager. After taking over the MerCury Theatre in Phillip Street, William Orr re- opened it as the Phillip Street Theatre in 1954, presenting a series of “Phillip Street Revues” and children's musicals, including Top of the Bill and Hit and Run (both 1954), Willow Pattern Plate (1957), Cross Section (1957-58), Ride on a Broomstick (1959), Mistress Money (1960). These featured many noted Australian performers, many who later went on to beCome well known film, theatre and television personalities, inCluding Gordon Chater, Margot Lee, Barry Creyton, Jill Perryman, Noeline Brown, Robina Beard, Judi Farr, Kevin Miles, Charles "Bud" Tingwell, Ray Barrett, Ruth CraCknell, June Salter, John Meillon, Barry Humphries, Reg Livermore, Peter Phelps, and Gloria Dawn. The Phillip Street Theatre was demolished at the time of Out on a Limb with Bobby Limb and Dawn Lake in 1961, and the Company moved to the Australian Hall at 150 Elizabeth Street, near Liverpool Street. The Company's name was then shortened to the Phillip Theatre in reCognition of this move. Content Printed materials in the PROMPT ColleCtion include programs and printed ephemera such as broChures, leaflets, tiCkets, etC. Theatre programs are taken as the prime doCumentary evidenCe of a performanCe at the Phillip Street Theatre. -
Melbourne Suburb of Northcote
ON STAGE The Autumn 2012 journal of Vol.13 No.2 ‘By Gosh, it’s pleasant entertainment’ Frank Van Straten, Ian Smith and the CATHS Research Group relive good times at the Plaza Theatre, Northcote. ‘ y Gosh, it’s pleasant entertainment’, equipment. It’s a building that does not give along the way, its management was probably wrote Frank Doherty in The Argus up its secrets easily. more often living a nightmare on Elm Street. Bin January 1952. It was an apt Nevertheless it stands as a reminder The Plaza was the dream of Mr Ludbrook summation of the variety fare offered for 10 of one man’s determination to run an Owen Menck, who owned it to the end. One years at the Plaza Theatre in the northern independent cinema in the face of powerful of his partners in the variety venture later Melbourne suburb of Northcote. opposition, and then boldly break with the described him as ‘a little elderly gentleman The shell of the old theatre still stands on past and turn to live variety shows. It was about to expand his horse breeding interests the west side of bustling High Street, on the a unique and quixotic venture for 1950s and invest in show business’. Mr Menck was corner of Elm Street. It’s a time-worn façade, Melbourne, but it survived for as long as consistent about his twin interests. Twenty but distinctive; the Art Deco tower now a many theatres with better pedigrees and years earlier, when he opened the Plaza as a convenient perch for telecommunication richer backers. -
Australian Aboriginal Verse 179 Viii Black Words White Page
Australia’s Fourth World Literature i BLACK WORDS WHITE PAGE ABORIGINAL LITERATURE 1929–1988 Australia’s Fourth World Literature iii BLACK WORDS WHITE PAGE ABORIGINAL LITERATURE 1929–1988 Adam Shoemaker THE AUSTRALIAN NATIONAL UNIVERSITY E PRESS iv Black Words White Page E PRESS Published by ANU E Press The Australian National University Canberra ACT 0200, Australia Email: [email protected] Web: http://epress.anu.edu.au Previously published by University of Queensland Press Box 42, St Lucia, Queensland 4067, Australia National Library of Australia Cataloguing-in-Publication entry Black Words White Page Shoemaker, Adam, 1957- . Black words white page: Aboriginal literature 1929–1988. New ed. Bibliography. Includes index. ISBN 0 9751229 5 9 ISBN 0 9751229 6 7 (Online) 1. Australian literature – Aboriginal authors – History and criticism. 2. Australian literature – 20th century – History and criticism. I. Title. A820.989915 All rights reserved. You may download, display, print and reproduce this material in unaltered form only (retaining this notice) for your personal, non-commercial use or use within your organization. All electronic versions prepared by UIN, Melbourne Cover design by Brendon McKinley with an illustration by William Sandy, Emu Dreaming at Kanpi, 1989, acrylic on canvas, 122 x 117 cm. The Australian National University Art Collection First edition © 1989 Adam Shoemaker Second edition © 1992 Adam Shoemaker This edition © 2004 Adam Shoemaker Australia’s Fourth World Literature v To Johanna Dykgraaf, for her time and care -
Zest Festival 2013: Far from Home
ZEST FESTIVAL 2013: FAR FROM HOME | 62 TREKS, LAND AND HERITAGE Long boat replica from the Batavia. | 63 ZEST FESTIVAL 2013: FAR FROM HOME | 64 ZEST FESTIVAL 2013: FAR FROM HOME WELCOME TO COUNTRY BY TRADITIONAL NHANDA ELDERS The Zest Festival begins with a ‘Welcome to Country’ by The message sticks will be added to the message stick the Drage family, and Nhanda youth once again give a installation, bringing all the stories together. It is a symbolic dance performance. act representing how everyone journeys away from home; but even though you can be far from home, your story is still The message sticks play a significant part in the part of a place. opening of the Zest Festival. Leading up to the Zest Festival weekend, the Drage family will be met by the The Drage family wanted the creation of the message sticks riders of the MidWest Horse Trekkers Club along the to reflect the past, present and the future. They know that Murchison River, as part of the 10-day Kalbarri Horse Murchison House Station and the surrounding country Trek. Clayton Drage will welcome these riders to country have a history of exploration, discovery, hard work, loss and and entrust them with several ‘message sticks’ that love; and that many people from European and Aboriginal hold significant stories from the surrounding country. heritage have connection to the place, from Nhanda people, The riders will explore these remarkable places around to the first white explorers and pioneers, station owners, Kalbarri – places of natural beauty. Learning about managers, workers and their families. -
Introduction: Performing Cosmopolitics Chapter 1 (Anti-)Cosmopolitan
Notes Introduction: performing cosmopolitics 1 Unattributed feature article, Australian, 16 September 2000, p. 6. 2 Although the riots resulted directly from a series of locally staged tensions revolving around beach territoriality and male youth culture, the anti-Arab sentiments expressed by demonstrators and circulated by the media tapped into a much wider context of racism provoked by Australia’s participation in the US-led anti-terrorism alliance, the bombings of Australian tourists in Bali by Islamic militants, and a high-profile case of the rape of Caucasian girls by a gang of Lebanese youths in 2002. 3 Federal Government of Australia. (1994) Creative Nation: Common- wealth Cultural Policy. <http://www.nla.gov.au/creative.nation/intro.html> (accessed 19 July 2005). 4 The Immigration Restriction Act of 1901 was the cornerstone of the ‘White Australia Policy’ aimed at excluding all non-European migration. The Act was enforced through the use of a dictation test, similar to the one used in South Africa, which enabled authorities to deny entry to any person who was not able to transcribe a passage dictated in a designated European language. The Act remained in force until 1958. 5 Many Australians who voted ‘no’ in fact supported the idea of a republic but did not agree with the only model offered by the ballot. For detailed analysis of the referendum’s results, see Australian Journal of Political Science, 36:2 (2001). 6 See Veronica Kelly (1998a: 9–10) for a succinct overview of significant studies in contemporary Australian theatre -
UQ Leads Renewable Energy Research
In this issue: n Margaret Olley remembered n UQ opens American office n Animal welfare in focus SUMMER 2011 FOR ALUMNI & COMMUNITY A shining light UQ LEADS RENEWABLE ENERGY RESEARCH From the Chancellor CONTENTS 06 08 Welcome to the Summer 2011 edition of Contact. Attending the Courting the Greats dinner at St Lucia recently, I was struck by the collected achievements of our growing alumni network, which now numbers almost 200,000 people from every corner of the globe. In addition to acknowledging our highest achieving graduates, the event provided an opportunity to reflect on the efforts of the extended community – alumni, students, staff, partners and friends – who rallied behind the University in the wake of the January floods. Part 14 35 of that legacy is the positive impact of the Student Emergency Welfare Fund Appeal, which was + FEATURES + REGULARS supported by hundreds of people and combines with the physical transformation of refurbished 06 AntaRCTIC ADVENTURER 04 StRatEGIC MOVES buildings and facilities in recent months. Veterinary science graduate Ivor Harris Professor Paul Greenfield on how There is no shortage of hardworking and has relished the challenge of working UQ can better engage with alumni. inspirational people with a UQ connection, and on the coldest, driest and windiest 10 CUTTING EDGE this year we have marked the achievements of continent on Earth. several outstanding individuals with an honorary 16 CAMPUS NEWS doctorate (more on pages 19 and 35). They 08 UQ IN AMERICA include leading businessman and philanthropist A new UQ foundation has been 32 GRADUatE NEWS established in Washington DC to Graeme Wood, pioneering electrical engineer Else 36 KEEP IN Contact Shepherd, and music educators Max Olding and enhance alumni relations and boost Pamela Page. -
A Study Guide by Jennifer Connolly
FILM AUSTRALIA COLLECTION WRONG SIDE OF THE ROAD New Digitally Restored & Remastered Film © ATOM 2014 A STUDY GUIDE BY JENNIFER CONNOLLY http://www.metromagazine.com.au ISBN 978-1-74295-408-0 http://www.theeducationshop.com.au NED LANDER GRAEME ISAAC Background Aboriginal Media Association (CAAMA), in Alice Springs, helped develop Aboriginal film making At the time of its original release in 1981, Wrong and launch it in to the mainstream. He also pro- Side of the Road was hailed as the first narrative Photos by Carol Ruff duced the noted Arnhem Land documentaries © Ned Lander and feature to centre on the experience of a contempo- Dhakyarr Vs The King and In My Father’s Country, Graeme Isaac, 2013 rary Aboriginal group, instead of using them as bit as well as the Indigenous feature musical Bran Nue players in the main action. The film was written in Dae directed by Rachel Perkins. collaboration with the cast, which included mem- bers of the bands, Us Mob and No Fixed Address.1 After the release of the film, No Fixed Address Real events in the lives of the band members were continued to play and tour with various Australian dramatised and interspersed with live footage of mainstream bands including Split Endz, Mental the bands performing. As Anything, Mondo Rock, and Cold Chisel and supported international touring acts such as Peter The music of Wrong Side of the Road, with songs Tosh and Ian Dury. In the mid 80’s they also toured like We Have Survived, asserts that despite every- to the UK and toured through Eastern Europe thing, contemporary Aboriginal culture is alive and before the fall of the iron curtain. -
The Arts- Media Arts
Resource Guide The Arts- Media Arts The information and resources contained in this guide provide a platform for teachers and educators to consider how to effectively embed important ideas around reconciliation, and Aboriginal and Torres Strait Islander histories, cultures and contributions, within the specific subject/learning area of The Arts- Media Arts. Please note that this guide is neither prescriptive nor exhaustive, and that users are encouraged to consult with their local Aboriginal and Torres Strait Islander community, and critically evaluate resources, in engaging with the material contained in the guide. Page 2: Background and Introduction to Aboriginal and Torres Strait Islander Media Arts Page 4: Timeline of Key Dates in the Contemporary History of Aboriginal and Torres Strait Islander Media Arts Page 8: Aboriginal and Torres Strait Islander Media Arts and Artists— Television Page 10: Aboriginal and Torres Strait Islander Media Arts and Artists— Film Page 14: Aboriginal and Torres Strait Islander Media Arts and Artists— Newspaper, Magazine and Comic Book Page 15: Aboriginal and Torres Strait Islander Media Arts and Artists— Radio Page 17: Aboriginal and Torres Strait Islander Media Arts and Artists— Apps, Interactive Animations and Video Games Page 19: Aboriginal and Torres Strait Islander Media Arts and Artists—The Internet Page 21: Celebratory Aboriginal and Torres Strait Islander Media Arts Events Page 22: Other Online Guides/Reference Materials Page 23: Reflective Questions for Media Arts Staff and Students Please be aware this guide may contain references to names and works of Aboriginal and Torres Strait Islander people that are now deceased. External links may also include names and images of those who are now deceased. -
Vivat Regina! Melbourne Celebrates the Maj’S 125Th Birthday
ON STAGE The Spring 2011 newsletter of Vol.12 No.4 Vivat Regina! Melbourne celebrates The Maj’s 125th birthday. he merriment of the audience was entrepreneur Jules François de Sales — now, of course, Her Majesty’s — almost continuous throughout.’ Joubert on the corner of Exhibition and celebrated its birthday by hosting the third TThat was the observation of the Little Bourke Streets. The theatre’s début Rob Guest Endowment Concert. The Rob reporter from M elbourne’s The Argus who was on Friday, 1 October 1886. Almost Guest Endowment, administered by ANZ ‘covered the very first performance in what exactly 125 years later — on Monday, Trustees, was established to commemorate was then the Alexandra Theatre, the 10 October 2011 the merriment was one of Australia’s finest music theatre handsome new playhouse built for similarly almost continuous as the theatre performers, who died in October 2008. * The Award aims to build and maintain a This year’s winner was Blake Bowden. Mascetti, Barry Kitcher, Moffatt Oxenbould, appropriate time and with due fuss and ‘“Vivat Regina!” may be a bit “over the Clockwise from left: Shooting the community for upcoming music theatre He received a $10 000 talent development the theatre’s archivist Mary Murphy, and publicity, as well as the final casting, but I top” — but then, why not?’ commemorative film in The Maj's foyer. Mike Walsh is at stairs (centre). artists and to provide one night every year grant, a media training session, a new theatre historian Frank Van Straten. am thrilled that they are spearheaded by a Why not, indeed! when all facets of the industry join to headshot package and a guest performance Premier Ted Baillieu added a special brand new production of A Chorus Line — as Rob Guest Endowment winner Blake Bowden welcome a new generation of performers. -
Sweet Country
Presents SWEET COUNTRY Directed by Warwick Thornton / In cinemas 25 January 2018 Starring HAMILTON MORRIS, BRYAN BROWN and SAM NEILL PUBLICITY REQUESTS: TM Publicity / Tracey Mair / +61 2 8333 9066 / [email protected] IMAGES High res images and poster available to download via the DOWNLOAD MEDIA tab at: http://www.transmissionfilms.com.au/films/sweet-country Distributed in Australia by Transmission Films SWEET COUNTRY is produced by Bunya Productions, with major production investment and development support from Screen Australia’s Indigenous Department, in association with the South Australian Film Corporation, Create NSW, Screen Territory and the Adelaide Film Festival. International sales are being handled by Memento and the Australian release by Transmission Films. © 2017 Retroflex Lateral Pty Ltd, Screen NSW, South Australian Film Corporation, Adelaide Film Festival and Screen Australia SHORT SYNOPSIS Inspired by real events, Sweet Country is a period western set in 1929 in the outback of the Northern Territory, Australia. When Aboriginal stockman Sam (Hamilton Morris) kills white station owner Harry March (Ewen Leslie) in self- defence, Sam and his wife Lizzie (Natassia Gorey-Furber) go on the run. They are pursued across the outback, through glorious but harsh desert country. Sergeant Fletcher (Bryan Brown) leads the posse with the help of Aboriginal tracker Archie (Gibson John) and local landowners Fred Smith (Sam Neill) and Mick Kennedy (Thomas M. Wright). Fletcher is desperate to capture Sam and put him on trial for murder – but Sam is an expert bushman and he has little difficulty outlasting them. Eventually, for the health of his pregnant wife, Sam decides to give himself up.