Julie Forsyth
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2015 Sydney Theatre Award Nominations
2015 SYDNEY THEATRE AWARD NOMINATIONS MAINSTAGE BEST MAINSTAGE PRODUCTION Endgame (Sydney Theatre Company) Ivanov (Belvoir) The Present (Sydney Theatre Company) Suddenly Last Summer (Sydney Theatre Company) The Wizard of Oz (Belvoir) BEST DIRECTION Eamon Flack (Ivanov) Andrew Upton (Endgame) Kip Williams (Love and Information) Kip Williams (Suddenly Last Summer) BEST ACTRESS IN A LEADING ROLE Paula Arundell (The Bleeding Tree) Cate Blanchett (The Present) Jacqueline McKenzie (Orlando) Eryn Jean Norvill (Suddenly Last Summer) BEST ACTOR IN A LEADING ROLE Colin Friels (Mortido) Ewen Leslie (Ivanov) Josh McConville (Hamlet) Hugo Weaving (Endgame) BEST ACTRESS IN A SUPPORTING ROLE Blazey Best (Ivanov) Jacqueline McKenzie (The Present) Susan Prior (The Present) Helen Thomson (Ivanov) BEST ACTOR IN A SUPPORTING ROLE Matthew Backer (The Tempest) John Bell (Ivanov) John Howard (Ivanov) Barry Otto (Seventeen) BEST STAGE DESIGN Alice Babidge (Suddenly Last Summer) Marg Horwell (La Traviata) Renée Mulder (The Bleeding Tree) Nick Schlieper (Endgame) BEST COSTUME DESIGN Alice Babidge (Mother Courage and her Children) Alice Babidge (Suddenly Last Summer) Alicia Clements (After Dinner) Marg Horwell (La Traviata) BEST LIGHTING DESIGN Paul Jackson (Love and Information) Nick Schlieper (Endgame) Nick Schlieper (King Lear) Emma Valente (The Wizard of Oz) BEST SCORE OR SOUND DESIGN Stefan Gregory (Suddenly Last Summer) Max Lyandvert (Endgame) Max Lyandvert (The Wizard of Oz) The Sweats (Love and Information) INDEPENDENT BEST INDEPENDENT PRODUCTION Cock (Red -
Particpant Bios
CAAP Artist Lab Participants BIOGRAPHIES LENA CRUZ Lena is a graduate of the Western Australian Academy of Performing Arts. Theatre highlights include her debut as Jenny in The Threepenny Opera for Western Australian Opera, Lady Macbeth in Macbeth for Bell Shakespeare, Mother Courage for Belvoir, Monkey- Journey to the West for Theatre of Image, Miss Bell in Fame, Hair, and creating the role of Cynthia in the original production of Priscilla, Queen of the Desert the Musical. Most recently, she has appeared in STC’s The Wharf Revue. Film and television highlights include starring as Rory Van Dyke in The Wannabes, Margarita in The Night We Called it A Day, Cassandra in Upskirt, Sofia Martinez in Shortland Street, Pet in Bargain Coast, Jody Lim in Dirt Game, Comedy Inc, Watch With Mother, All Saints, The Very Trevor Ashley Show, and Kiki and Kitty. She has co- written and co-starred in the cabarets The Singer’s Guide To The Universe, About Face, and one-woman shows I’m A Stranger Here Myself directed by Tony Sheldon and Bitter Sweet, for which she was nominated for the Sydney Fringe Festival Drum Media Show-Stopping Individual Performance Award and the Best Of People’s Choice Award. HAPPY FERAREN Happy Feraren is a Filipino actor and improviser based in Sydney with 11 years experience. She has performed in over 500 shows in a wide range of improvisational theatre formats both locally and internationally (including Manila, Sydney, Hong Kong, Amsterdam, Chicago and New York). In the Philippines, she began as a presenter for national radio and television as well as live events and was a supporting actor in the feature film ‘My Candidate’. -
In the Winter Dark Tail Credits
Tail voice over: After Maurice has shot his wife Ida, he heads up the hill to his dying wife. He holds her in his arms and sobs as she dies. Jacob gets Ronnie out of the vehicle and pushes the flat bed Toyota upright. Maurice grabs a shovel and begins to dig a grave for his wife. Jacob carries Ronnie to the truck, and they drive off into the darkness, while Maurice begins the job of digging a hole, pausing to watch the Toyota disappear into the night. Then the image cuts to Maurice sitting on the verandah of his home in pre-dawn light, at first in close up. As his voice over unfolds, the camera pulls back to offer a wide shot of him on the verandah : Maurice (v/o): “Some nights I sit here and talk and stare, and stay out until the break of day …waiting, hoping. There’s been no blue lights, no detectives, no sign of Jacob or Ronnie or her musician boyfriend … and it’s been almost a year… (A kookaburra begins to sound over a wide shot of the dawn light falling on the pasture and the bush). … Sometimes I see a shadow … (ECU of his eyes) …between the trees. But I know to leave these things alone now …(back to a wide shot of him on the verandah, now with dawn light on it) …I make my confession, wait for redemption …or punishment …(a shot of the sun rising over a distant hill, bathing the screen in a yellow hazy glow) …but there’s only the sun rise … Music swells, fade to black, and end credits begin to roll .. -
The Premiere Fund Slate for MIFF 2021 Comprises the Following
The MIFF Premiere Fund provides minority co-financing to new Australian quality narrative-drama and documentary feature films that then premiere at the Melbourne International Film Festival (MIFF). Seeking out Stories That Need Telling, the the Premiere Fund deepens MIFF’s relationship with filmmaking talent and builds a pipeline of quality Australian content for MIFF. Launched at MIFF 2007, the Premiere Fund has committed to more than 70 projects. Under the charge of MIFF Chair Claire Dobbin, the Premiere Fund Executive Producer is Mark Woods, former CEO of Screen Ireland and Ausfilm and Showtime Australia Head of Content Investment & International Acquisitions. Woods has co-invested in and Executive Produced many quality films, including Rabbit Proof Fence, Japanese Story, Somersault, Breakfast on Pluto, Cannes Palme d’Or winner Wind that Shakes the Barley, and Oscar-winning Six Shooter. ➢ The Premiere Fund slate for MIFF 2021 comprises the following: • ABLAZE: A meditation on family, culture and memory, indigenous Melbourne opera singer Tiriki Onus investigates whether a 70- year old silent film was in fact made by his grandfather – civil rights leader Bill Onus. From director Alex Morgan (Hunt Angels) and producer Tom Zubrycki (Exile in Sarajevo). (Distributor: Umbrella) • ANONYMOUS CLUB: An intimate – often first-person – exploration of the successful, yet shy and introverted, 33-year-old queer Australian musician Courtney Barnett. From producers Pip Campey (Bastardy), Samantha Dinning (No Time For Quiet) & director Danny Cohen. (Dist: Film Art Media) • CHEF ANTONIO’S RECIPES FOR REVOLUTION: Continuing their series of food-related social-issue feature documentaries, director Trevor Graham (Make Hummus Not War) and producer Lisa Wang (Monsieur Mayonnaise) find a very inclusive Italian restaurant/hotel run predominately by young disabled people. -
Australian Television, Music and Place
Screen Sound n1, 2010 SOUNDING EAST OF EVERYTHING Australian Television, Music and Place Liz Giuffre Abstract East of Everything is a contemporary Australian television drama series shot on the New South Wales North Coast in and around the popular tourist destination of Byron Bay. In addition to utilising the region’s visual beauty – a cinematographic technique commonly employed in Australian drama – East of Everything has harnessed the musical culture that has developed in the area over time. The series relies on its soundtrack to create a sense of place and illuminate the program’s dramatic progression. This article will explore the use of music to ‘place’ East of Everything, examining the incorporation of pre-existing and specially commissioned material. I will show that the sonic representation of place through music has been key to the program’s success, and that place in the Australian drama is revealed sonically to be as diverse, emotive and striking as the region’s visual landscape. Keywords Television, Soundtrack, Australian music, Byron Bay, Surfing Culture Introduction Billingham (2000) argues that television drama often relies on the creation of ‘geo- ideological’ relationships to attract audiences. As part of his evaluation of various contemporary British and American television drama series, he suggests that many successful programs created a “dialectic of literal notions of place and location, transposed with their ideological marking, signing and delineation” (2000: 1). For Billingham the depiction of place was central to the success of these television texts, with the program’s target audience engaged as visuals and sound worked in “symbiotic tandem” to create an “imagined city” (2000: 119). -
Windmill Theatre, GIRL ASLEEP Is a Journey Into the Absurd, Scary and Beautiful Heart of the Teenage Mind
1 WINNER ADEL AIDE FILM FESTIVAL FOXTEL MOVIES AUDIENCE AWARDS MOST POPULAR FEATURE Girl Asleep bags most popular feature at Adelaide Film Festival. IF MAGAZINE It’s in Myers’s commitment to eccentricity that Girl Asleep – an art-house film made firmly with a teenage audience in its sight – finds its heart. THE GUARDIAN AUSTRALIA Girl Asleep is the stylish, formally exuberant debut of theatre director Rosemary Myers. A funny and imaginative portrait of growing pains. THE HOLLYWOOD REPORTER With the endless production of superhero films and film remakes these days, it is refreshing to see a film with such raw acting and originality from start to finish. It’s hard not to fall in love with the characters in Girl Asleep, and be left with the warmth of the film long after the credits have stop rolling. THE UPSIDE NEWS Inventive and confidently executed... bright and occasionally subversive take on teen growing pains that gives fresh legs to a familiar genre. We’re lucky to call this one our own. RIP IT UP Profoundly funny. SCENESTR Wildly funny and deeply moving in equal measure, it is a work rich in larrikin character but universal in its themes and appeal. As Greta embraces her blossoming self, so to does Australian cinema welcome another memorable movie heroine. SCREEN SPACE A memorable, comic balance of poise and chaos. ADELAIDE REVIEW Colourful, eccentric... production about a girl navigating the pitfalls of puberty with a casual side of magical realism... one for fans of coming-of-age dramas and colourful Wes Anderson-style quirkfests. -
The Australian Theatre Family
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Sydney eScholarship A Chance Gathering of Strays: the Australian theatre family C. Sobb Ah Kin MA (Research) University of Sydney 2010 Contents: Epigraph: 3 Prologue: 4 Introduction: 7 Revealing Family 7 Finding Ease 10 Being an Actor 10 Tribe 15 Defining Family 17 Accidental Culture 20 Chapter One: What makes Theatre Family? 22 Story One: Uncle Nick’s Vanya 24 Interview with actor Glenn Hazeldine 29 Interview with actor Vanessa Downing 31 Interview with actor Robert Alexander 33 Chapter Two: It’s Personal - Functioning Dysfunction 39 Story Two: “Happiness is having a large close-knit family. In another city!” 39 Interview with actor Kerry Walker 46 Interview with actor Christopher Stollery 49 Interview with actor Marco Chiappi 55 Chapter Three: Community −The Indigenous Family 61 Story Three: Who’s Your Auntie? 61 Interview with actor Noel Tovey 66 Interview with actor Kyas Sheriff 70 Interview with actor Ursula Yovich 73 Chapter Four: Director’s Perspectives 82 Interview with director Marion Potts 84 Interview with director Neil Armfield 86 Conclusion: A Temporary Unity 97 What Remains 97 Coming and Going 98 The Family Inheritance 100 Bibliography: 103 Special Thanks: 107 Appendix 1: Interview Information and Ethics Protocols: 108 Interview subjects and dates: 108 • Sample Participant Information Statement: 109 • Sample Participant Consent From: 111 • Sample Interview Questions 112 2 Epigraph: “Happy families are all alike; every unhappy family is unhappy in its own way. Everything was in confusion in the Oblonsky’s house. The wife had discovered that the husband was carrying on an intrigue with a French girl, who had been a governess in their family, and she had announced to her husband that she could not go on living in the same house with him. -
David Wenham CV
SHANAHAN DAVID WENHAM | Actor FILM Year Production / Character Director Company 2020 THE FURNACE Roderick MacKay Southern Light Films Mal 2019 DIRT MUSIC Gregor Jordan Wildgaze Films Jim 2018 IN LIKE FLYNN Russell Mulcahy 308 Ent Christian Travers 2018 PETER RABBIT Will Gluck Colombia Pictures Johnny Town-Mouse 2017 PIRATES OF THE CARIBBEAN: Joachim Rønning & Mukiri Productions Pty Ltd DEAD MEN TELL NO TALES Espen Sandberg Scarfield 2017 BEYOND THE KNOWN WORLD Pan Nalin Jungle Book Entertainment Carl Hansen 2016 GOLDSTONE David Jowsey Dark Matter Media Pty Ltd Johnny 2016 LION Garth Davis See Saw Films John Brierley 2015 BLINKY BILL: THE MOVIE Deane Taylor, Noel Flying Bark Produ ctions Jacko Clearly, Alexs Stadermann & Alex Weight 2014 FORCE OF DESTINY Paul Cox Illumination Films Robert 2013 PAPER PLANES Robert Connolly Arclight Films Patrick Shanahan Management Pty Ltd PO Box 1509 | Darlinghurst NSW 1300 Australia | ABN 46 001 117 728 Telephone 61 2 8202 1800 | Facsimile 61 2 8202 1801 | [email protected] SHANAHAN 2012 300: RISE OF AN EMPIRE Noam Murro 300 Films Inc. Dilios 2011 ORANGES AND SUNSHINE Jim Loach See-Saw Oranges Pty Ltd Len 2010 LEGEND OF THE GUARDIANS: Zack Synder GOG Productions Pty Ltd THE OWLS OF GA’HOOLE Digger 2009 POPE JOAN Sonke Wortmann ARD Degeto Film Gerold 2008 PUBLIC ENEMIES Michael Mann Universal Pictures Pierpont 2007 AUSTRALIA Baz Lurhmann Bazmark Fletcher 2007 CHILDREN OF HUANG SHI Roger Spottiswoode Rogue Entertainment Group Barnes 2006 MARRIED LIFE Ira Sachs Sidney Kimmel Entertainment John O’Brien -
Tennessee Williams'
TENNESSEE WILLIAMS’ 18 OCT – 16 NOV 2019 ADAPTED FOR THE STAGE BY PIERRE LAVILLE AND EMILY MANN This adaptation of BABY DOLL was originally produced by McCarter Theatre Center, Princeton, NJ: Emily Mann, Artistic Director; Timothy J. Shields, Managing Director. BABY DOLL is presented by special arrangement with The University of the South, Sewanee, Tennessee. WELCOME When I saw the film BABY DOLL a few years back, I wanted to stage it thinking the film was based on a play of the same name, not realising it was actually based on Williams’ earlier play, 27 WAGONS FULL OF COTTON. There was no play of BABY DOLL to perform. A few years later two scripts cropped up around the same time and I was thrilled with Pierre Laville and Emily Mann’s adaptation. It captures the essence of the film, the damage of the characters and Tennessee Williams’ beautiful dialogue. I am thrilled we are presenting BABY DOLL - almost as a new play by Tennessee Williams in 2019. With Shaun Rennie at the helm of this beautiful cast and creative team, we are very excited indeed. Enjoy! Mark Kilmurry Artistic Director CAST BABY DOLL KATE CHEEL AUNT ROSE COMFORT MAGGIE DENCE SILVA VACARRO SOCRATIS OTTO ARCHIE LEE MEIGHAN JAMIE OXENBOULD CREATIVES DIRECTOR STAGE MANAGER SHAUN RENNIE STEPHANIE LINDWALL ASSISTANT DIRECTOR ASSISTANT STAGE MANAGER ERIN TAYLOR ERIN SHAW ADAPTATION COSTUME SUPERVISOR PIERRE LAVILLE & EMILY MANN RENATA BESLIK SET & COSTUME DESIGNER DIALECT COACH ANNA TREGLOAN LINDA NICHOLLS-GIDNEY LIGHTING DESIGNER FIGHT DIRECTOR VERITY HAMPSON NIGEL POULTON COMPOSER & SOUND DESIGNER PRODUCTION MANAGER NATE EDMONDSON ROMY MCKANNA REHEARSAL OBSERVER SUSIE CONTE RUNNING TIME APPROX. -
MINERVA THEATRE Feasibility Study – Executive Summary
MINERVA THEATRE Feasibility Study – Executive Summary MINERVA THEATRE – FEASIBILITY STUDY EXECUTIVE SUMMARY Create NSW City of Sydney Minerva Theatre Feasibility Study – Executive Summary December 2020 Hawkridge Entertainment Services Tim Long Managing Director Nick Tobin Managing Director, Networked Urban Solutions Disclaimer This report (Study) has been produced independently by Hawkridge Entertainment Services (HES) on the request of Create NSW and the City of Sydney. The information, statements, statistics and commentary (together the ‘Information’) contained in this study have been prepared by HES from publicly available material and from discussions held with stakeholders. HES does not express an opinion as to the accuracy or completeness of the information provided, the assumptions made by the parties that provided the information or any conclusions reached by those parties. HES have based this Report on information received or obtained, on the basis that such information is accurate and, where it is represented to HES as such, complete. The Information contained in this Report has not been subject to an audit. Hawkridge Entertainment Services Specialist consultants in the entertainment, sports, arts and venue industries Sydney | Melbourne | Perth | Singapore Page | 2 MINERVA THEATRE – FEASIBILITY STUDY EXECUTIVE SUMMARY Executive Summary The Minerva Theatre Feasibility Study was jointly commissioned by the City of Sydney Council and Create NSW, with the principal aim of investigating whether: 1. a refurbished Minerva Theatre would be a viable performance space in the Sydney market; and 2. there is market interest in reinstating the Minerva as a theatre. The study indicates that reinstatement of the Minerva as a commercially operated theatre is a viable proposition. -
Sydney Theatre Company Annual Report 2011 Annual Report | Chairman’S Report 2011 Annual Report | Chairman’S Report
2011 SYDNEY THEATRE COMPANY ANNUAL REPORT 2011 ANNUAL REPORT | CHAIRMAn’s RepoRT 2011 ANNUAL REPORT | CHAIRMAn’s RepoRT 2 3 2011 ANNUAL REPORT 2011 ANNUAL REPORT “I consider the three hours I spent on Saturday night … among the happiest of my theatregoing life.” Ben Brantley, The New York Times, on STC’s Uncle Vanya “I had never seen live theatre until I saw a production at STC. At first I was engrossed in the medium. but the more plays I saw, the more I understood their power. They started to shape the way I saw the world, the way I analysed social situations, the way I understood myself.” 2011 Youth Advisory Panel member “Every time I set foot on The Wharf at STC, I feel I’m HOME, and I’ve loved this company and this venue ever since Richard Wherrett showed me round the place when it was just a deserted, crumbling, rat-infested industrial pier sometime late 1970’s and a wonderful dream waiting to happen.” Jacki Weaver 4 5 2011 ANNUAL REPORT | THROUGH NUMBERS 2011 ANNUAL REPORT | THROUGH NUMBERS THROUGH NUMBERS 10 8 1 writers under commission new Australian works and adaptations sold out season of Uncle Vanya at the presented across the Company in 2011 Kennedy Center in Washington DC A snapshot of the activity undertaken by STC in 2011 1,310 193 100,000 5 374 hours of theatre actors employed across the year litre rainwater tank installed under national and regional tours presented hours mentoring teachers in our School The Wharf Drama program 1,516 450,000 6 4 200 weeks of employment to actors in 2011 The number of people STC and ST resident actors home theatres people on the payroll each week attracted into the Walsh Bay precinct, driving tourism to NSW and Australia 6 7 2011 ANNUAL REPORT | ARTISTIC DIRECTORs’ RepoRT 2011 ANNUAL REPORT | ARTISTIC DIRECTORs’ RepoRT Andrew Upton & Cate Blanchett time in German art and regular with STC – had a window of availability Resident Artists’ program again to embrace our culture. -
The Turquoise Elephant E X T D N F C R T O
GRIFFIN THEATRE COMPANY PRESENTS THE TURQUOISE ELEPHANT STEPHEN CARLETON BY STEPHEN CARLETON 14 OCTOBER-26 NOVEMBER E Production Sponsor Meet Augusta Macquarie: Her Excellency, patron of the arts, X formidable matriarch, environmental vandal. THE T D TURQUOISE Inside her triple-glazed compound, Augusta shields herself from the catastrophic elements, bathing in THE TURQUOISE ELEPHANT the classics and campaigning for the reinstatement of global reliance on fossil fuels. Outside, the world lurches from one environmental cataclysm to the next. ELEPHANT N Meanwhile, her sister, Olympia, thinks the best way to save endangered species is to eat them. Their niece, Basra, is intent on making a difference – but how? Can you save the world one blog at a time? F C Stephen Carleton’s shockingly black, black, black political farce won the 2015 Griffin Award. R T It’s urgent, contemporary and perilously close to being real. Director Gale Edwards brings her magic and wry insight to the world premiere of this very funny, clever and wicked new work. O S T CURRENCY PRESS GRIFFIN THEATRE COMPANY PRESENTS THE TURQUOISE ELEPHANT BY STEPHEN CARLETON 14 OCTOBER-26 NOVEMBER Director Gale Edwards Set Designer Brian Thomson Costume Designer Emma Vine Lighting and AV Designer Verity Hampson Sound Designer Jeremy Silver Associate Lighting Designer Daniel Barber Stage Manager Karina McKenzie Videographer Xanon Murphy With Catherine Davies, Maggie Dence, Julian Garner, Belinda Giblin, Olivia Rose, iOTA SBW STABLES THEATRE 14 OCTOBER - 26 NOVEMBER Production Sponsor Government Partners Griffin acknowledges the generosity of the Seaborn, Broughton and Walford Foundation in allowing it the use of the SBW Stables Theatre rent free, less outgoings, since 1986.