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A H Ist Or Y of Fa Llin G T H In
7 JULY – 20 AUGUST 2016 A HISTORY OF FALLING THINGS by James Graham A HISTORY OF FALLING THINGS by James Graham PLAYWRIGHT DIRECTOR JAMES GRAHAM NICOLE BUFFONI CAST CREW ROBIN JACQUI DESIGNER ASSISTANT ERIC BEECROFT SOPHIE HENSSER ANNA GARDINER STAGE MANAGER SLADE BLANCH LIGHTING LESLEY REECE DESIGNER WARDROBE MERRIDY BRIAN MEEGAN CHRISTOPHER PAGE COORDINATOR EASTMAN RENATA BESLIK AV DESIGNER JIMMY TIM HOPE DIALECT SAM O’SULLIVAN COACH SOUND DESIGNER NICK CURNOW ALISTAIR WALLACE JOHN REHEARSAL (VOICEOVER) STAGE OBSERVER MARK KILMURRY MANAGER ELSIE EDGERTON-TILL LARA QUALTROUGH PROUDLY SUPPORTED BY RUNNING TIME: APPROXIMATELY 90 MINUTES (NO INTERVAL) JAMES GRAHAM – PLAYWRIGHT James is a playwright and film Barlow. It opened in Boston in Summer 2014 and and television writer who won transferred to Broadway in Spring 2015. His play the Pearson Playwriting Bursary THE VOTE at the Donmar Warehouse aired in real in 2006 and went on to win the time on TV in the final 90 minutes of the 2015 Catherine Johnson Award for the Best Play in polling day and has been nominated for a BAFTA. 2007 for his play EDEN’S EMPIRE. James’ play His first film for television, CAUGHT IN A TRAP, was THIS HOUSE premièred at the Cottesloe Theatre broadcast on ITV1 on Boxing Day 2008. James was in September 2012, directed by Jeremy Herrin, and picked as one of Broadcast Magazine’s Hotshots transferred to the Olivier in 2013 where it enjoyed in the same year. He is developing original series a sell out run and garnered critical acclaim and and adaptations with Tiger Aspect, Leftbank, a huge amount of interest and admiration from Kudos and the BBC. -
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’. -
The Ideal of Ensemble Practice in Twentieth-Century British Theatre, 1900-1968 Philippa Burt Goldsmiths, University of London P
The Ideal of Ensemble Practice in Twentieth-century British Theatre, 1900-1968 Philippa Burt Goldsmiths, University of London PhD January 2015 1 I hereby declare that the work presented in this thesis is my own and has not been and will not be submitted, in whole or in part, to any other university for the award of any other degree. Philippa Burt 2 Acknowledgements This thesis benefitted from the help, support and advice of a great number of people. First and foremost, I would like to thank Professor Maria Shevtsova for her tireless encouragement, support, faith, humour and wise counsel. Words cannot begin to express the depth of my gratitude to her. She has shaped my view of the theatre and my view of the world, and she has shown me the importance of maintaining one’s integrity at all costs. She has been an indispensable and inspirational guide throughout this process, and I am truly honoured to have her as a mentor, walking by my side on my journey into academia. The archival research at the centre of this thesis was made possible by the assistance, co-operation and generosity of staff at several libraries and institutions, including the V&A Archive at Blythe House, the Shakespeare Centre Library and Archive, the National Archives in Kew, the Fabian Archives at the London School of Economics, the National Theatre Archive and the Clive Barker Archive at Rose Bruford College. Dale Stinchcomb and Michael Gilmore were particularly helpful in providing me with remote access to invaluable material held at the Houghton Library, Harvard and the Harry Ransom Center at the University of Texas, Austin, respectively. -
04 Part Two Chapter 4-5 Everett
PART TWO. "So what are you doing now?" "Well the school of course." "You mean youre still there?" "Well of course. I will always be there as long as there are students." (Jacques Lecoq, in a letter to alumni, 1998). 79 CHAPTER FOUR INTRODUCTION TO PART TWO. The preceding chapters have been principally concerned with detailing the research matrix which has served as a means of mapping the influence of the Lecoq school on Australian theatre. I have attempted to situate the research process in a particular theoretical context, adopting Alun Munslow's concept of `deconstructionise history as a model. The terms `diaspora' and 'leavening' have been deployed as metaphorical frameworks for engaging with the operations of the word 'influence' as it relates specifically to the present study. An interpretive framework has been constructed using four key elements or features of the Lecoq pedagogy which have functioned as reference points in terms of data collection, analysis and interpretation. These are: creation of original performance material; use of improvisation; a movement-based approach to performance; use of a repertoire of performance styles. These elements or `mapping co-ordinates' have been used as focal points during the interviewing process and have served as reference points for analysis of the interview material and organisation of the narrative presentation. The remainder of the thesis constitutes the narrative interpretation of the primary and secondary source material. This chapter aims to provide a general overview of, and introduction to the research findings. I will firstly outline a demographic profile of Lecoq alumni in Australia. Secondly I will situate the work of alumni, and the influence of their work on Australian theatre within a broader socio-cultural, historical context. -
Auditor-General's Report on the Annual Financial Report of The
Auditor-General’s Report on the Annual Financial Report of the State of Victoria: 2017–18 Auditor-General’s Report on the Annual Financial October 2018 Report of the State of Victoria: 2017–18 October 2018 2018–19: 13 Independent assurance report to Parliament 2018–19: 13 18924 Vago_PB_Cover 6.2mm.pdf | Page 1 of 1 18924 Vago_PB_Cover 6.2mm.pdf | Page 1 of 1 Auditor-General’s Report on the Annual Financial Report of the State of Victoria: 2017–18 Ordered to be published VICTORIAN GOVERNMENT PRINTER October 2018 PP no 464, Session 2014–18 This report is printed on Monza Recycled paper. Monza Recycled is certified Carbon Neutral by The Carbon Reduction Institute (CRI) in accordance with the global Greenhouse Gas Protocol and ISO 14040 framework. The Lifecycle Analysis for Monza Recycled is cradle to grave including Scopes 1, 2 and 3. It has FSC Mix Certification combined with 99% recycled content. ISBN 978 1 925678 37 6 The Hon Bruce Atkinson MLC The Hon Colin Brooks MP President Speaker Legislative Council Legislative Assembly Parliament House Parliament House Melbourne Melbourne Dear Presiding Officers Under the provisions of section 16AB of the Audit Act 1994, I transmit my report Auditor-General’s Report on the Annual Financial Report of the State of Victoria: 2017–18. Yours faithfully Andrew Greaves Auditor-General 24 October 2018 Contents Overview ...................................................................................................................... 7 Conclusion ..................................................................................................................................... -
Danielle Carter
DANIELLE CARTER TRAINING Graduated from the National Institute of Dramatic Art (NIDA) in 1993 Moscow Arts Theatre School 2013 MICHA- The Michael Chekhov International Workshop USA 2015/2016/2017 The Michael Chekhov School USA 2015/2016/2017/2019 THEATRE The Norman Conquests (trilogy) Sarah Ensemble Theatre Company Dir: Mark Kilmurry Table Manners Sarah Ensemble Theatre Company Dir: Mark Kilmurry Living Together Sarah Ensemble Theatre Company Dir: Mark Kilmurry Round and Round the Garden Sarah Ensemble Theatre Company Dir: Mark Kilmurry FURY Alice Red Stitch Dir: Brett Cousins & Ella Caldwell E-Baby Catherine Ensemble Theatre Company Dir: Nadia Tass My Zinc Bed Elsa Quinn Ensemble Theatre Company Dir: Mark Kilmurry Richard III Elizabeth Ensemble Theatre Company Dir: Mark Kilmurry The Gingerbread Lady Toby Landau Ensemble Theatre Company Dir: Sandra Bates My Wonderful Day Paula Hammond Ensemble Theatre Company Dir: Anna Crawford Status Update Coral | Adam La Mama Dir: Sue Jones Absurd Person Singular Eva Jackson Ensemble Theatre Company Dir: Andrew Doyle The Cove - 8 Shorts Works Various Dog Theatre | IF Productions Dir: Matt Scholten A Midsummer Night’s Dream Titania Theatre Works Dir: Glenda Linscott Shadow Passion Catherine Harrow Chapel off Chapel Productions Dir: Anthony Crowley Europe Barbara 2006 VCA Directors Season Dir: Matt Scholten Still Order | Want me La Mama | Malthouse Dir: Bernadette Ryan lisa mann creative management pty ltd telephone: +61 2 9387 8207 | fax: +61 2 9389 0615 p.o. box 3145, Redfern, nsw 2016 australia email: -
Annual Report 2013 Annual Report 2013
Annual Report 2013 Annual Report 2013 4 Objectives and Mission Statement 50 Open Door 6 Key Achievements 9 Board of Management 52 Literary 10 Chairman’s report Literary Director’s Report 12 Artistic Director’s report MTC is a department of the University of Melbourne 14 Executive Director’s report 54 Education 16 Government Support Education Manager’s Report and Sponsors 56 Education production – Beached 18 Patrons 58 Education Workshops and Participatory Events 20 2013 Mainstage Season MTC Headquarters 60 Neon: Festival of 252 Sturt St 22 The Other Place Independent Theatre Southbank VIC 3006 24 Constellations 03 8688 0900 26 Other Desert Cities 61 Daniel Schlusser Ensemble 28 True Minds 62 Fraught Outfit Southbank Theatre 30 One Man, Two Guvnors 63 The Hayloft Project 140 Southbank Blvd 32 Solomon and Marion 64 THE RABBLE Southbank VIC 3006 34 The Crucible 65 Sisters Grimm Box Office 03 8688 0800 36 The Cherry Orchard 66 NEON EXTRA 38 Rupert mtc.com.au 40 The Beast 68 Employment Venues 42 The Mountaintop Actors and Artists 2013 Throughout 2013 MTC performed its Melbourne season of plays at the 70 MTC Staff 2013 Southbank Theatre, The Sumner and The Lawler, 44 Add-on production and the Fairfax Studio and Playhouse at The Book of Everything 72 Financial Report Arts Centre Melbourne. 74 Key performance indicators 46 MTC on Tour: 76 Audit certificate Managing Editor Virginia Lovett Red 78 Financial Statement Graphic Designer Emma Wagstaff Cover Image Jeff Busby 48 Awards and nominations Production Photographers Jeff Busby, Heidrun Löhr Cover -
To Download a List of Locations That Have the Mr Moto Digital Screens
Mr Moto Digital Screen Event Advertising Network 273 Wellington St, Collingwood VIC 3066 +61 3 9417 7008 www.mrmoto.com.au EST.1985 Mr Moto Digital Screen Event Advertising Network 2019 Venue List Tourist Hub Venues All Nations Hotel 2 Spencer Street, Melbourne Athenaeum Theatre 188 Collins Street, Melbourne | Venue features 2 Digital Screens Base St Kilda 17 Carlisle Street, St Kilda Bird’s Basement Singers Lane, Melbourne Blondie Bar Melbourne Recital Centre - 31 Sturt Street, Southbank Bluetrain Southgate Shopping Centre - Level 2, Southgate Campari House 23 - 25 Hardware Lane, Melbourne Cosmopolitan Hotel 2 - 8 Carlisle Street, St Kilda Halftix Melbourne Town Hall, Collins & Swanston Streets, Melbourne Hairy Little Sista** 240 Little Collins Street, Melbourne | **Location currently closed Hotel Discovery 167 Franklin Street, Melbourne Ibis Styles Kingsgate Hotel 131 King Street, Melbourne Melbourne Central Shopping Centre Melbourne Central - Ground Floor, Swanston Street, Melbourne Melbourne Visitor Booth Bourke Street Mall, Melbourne | Venue features 3 Digital Screens Nomads Hotel on A’Beckett 198 A’Beckett Street, Melbourne Nomads St Kilda 24 Grey Street, Saint Kilda Quest on Bourke 155 Bourke Street, Melbourne Quest Abbotsford 612 Victoria Sreet, Abbotsford * Quest Hawthorn 616 Glenferrie Road, Hawthorn | Venue features 2 Digital Screens Quest Kew 19-21 Walpole Street, Kew Quest Williamstown 1 Syme Street, Williamstown * EST.1985 Professional Lifestyle Venues Airstream Cafe Century City Walk - 287 Springvale Road, Glen Waverley -
Company B ANNUAL REPORT 2008
company b ANNUAL REPORT 2008 A contents Company B SToRy ............................................ 2 Key peRFoRmanCe inDiCaToRS ...................... 30 CoRe ValueS, pRinCipleS & miSSion ............... 3 FinanCial Report ......................................... 32 ChaiR’S Report ............................................... 4 DiReCToRS’ Report ................................... 32 ArtistiC DiReCToR’S Report ........................... 6 DiReCToRS’ DeClaRaTion ........................... 34 GeneRal manaGeR’S Report .......................... 8 inCome STaTemenT .................................... 35 Company B STaFF ........................................... 10 BalanCe SheeT .......................................... 36 SeaSon 2008 .................................................. 11 CaSh Flow STaTemenT .............................. 37 TouRinG ........................................................ 20 STaTemenT oF ChanGeS in equiTy ............ 37 B ShaRp ......................................................... 22 noTeS To The FinanCial STaTements ....... 38 eDuCaTion ..................................................... 24 inDepenDenT auDiT DeClaRaTion CReaTiVe & aRTiSTiC DeVelopmenT ............... 26 & Report ...................................................... 49 CommuniTy AcceSS & awards ...................... 27 DonoRS, partneRS & GoVeRnmenT SupporteRS ............................ 28 1 the company b story Company B sprang into being out of the unique action taken to save Landmark productions like Cloudstreet, The Judas -
Trent Suidgeest Design Theatrical Lighting & Set Designer
TRENT SUIDGEEST DESIGN THEATRICAL LIGHTING & SET DESIGNER +61 (0) 409 446 830 [email protected] http://www.trentsuidgeest.com/ TRAINING 2006 - 2008 Western Australian Academy of Performing Arts WAAPA Lighting Design - Bachelor of Performing Arts (Production and Design) PROFESSIONAL REFEREES John Sheedy [email protected] Wesley Enoch [email protected] Adam Mitchell [email protected] PERSONAL REFEREES Alicia Clements 0417 334 585 Genevieve Jones 0420 970 411 GRANTS 2015 - Mike Walsh Fellowship 2015 - WA Department of Young People Fellowship 2014 - Australia Council Creative Professionals 2010 - Australia Council Artstart Grant AWARDS / NOMINATIONS WA Equity Guild Awards 2012 Best Design nominee EXPERIENCES Internships: 2014 A View From The Bridge - Young Vic Theatre - Directed by Ivo van Hove, lighting by Jan Versweyveld Sunny Afternoon - Hampstead Theatre, UK - Lighting Designer Rick Fisher Les Miserables - Broadway Revival, Imperial Theatre - Lighting Designer Paule Constable Act One - Lincoln Centre Theatre - Lighting Designer Ken Billington. Directed by James Lapine Secondments: 2008 Billy Elliot The Musical - Broadway - Lighting Designer Rick Fisher Wicked Australia, High School Musical Australia DESIGN CREDITS: NEXT TO NORMAL by Brian Yorkey and Tom Kitt NEXT: Lighting Designer for Director Adam Mitchell - Black Swan State Theatre Company THE RED BALLOON by Hilary Bell from the short film Lighting Designer for Director Chrissie Parrott - Black Swan State Theatre Company [World Premiere] EXTINCTION by -
Submission to the Creative Industries Strategy 2020-2024
ANZAC House Level 4,4 Collins Street Melbourne VIC 3000 melbourne.org.au T +61 (3) 9650 8800 E [email protected] ABN 56 203 402 373 Martin Foley MP Minister for Creative Industries Parliament House EAST MELBOURNE VIC 3002 Dear Mr Foley Submission to the Creative Industries Strategy 2020-2024 The Committee welcomes the opportunity to make a submission to the Victorian Government’s Creative Industries Strategy 2020-2024 (Creative Industries Strategy). Committee for Melbourne, (the Committee), is an apolitical, not-for-profit organisation that represents 150 members comprising Greater Melbourne’s business, academic, arts, and community sectors in advocating for the future of Greater Melbourne. The Committee has a passion for ensuring the liveability and economic and social sustainability of Melbourne as a leading global city in the world’s fastest-growing region. The Committee has a strong interest in the arts and culture sector and the strength and viability of creative industries in Greater Melbourne and across Victoria. The Committee has established an Arts and Culture Taskforce which works to create an integrated vision for Melbourne as a vibrant, global destination for arts, culture, and design. The Taskforce brings together leaders and individuals from Melbourne's diverse membership including business, academia, arts, not-for-profit, local councils and government to collaborate across issues facing the industry. As such, the Taskforce is well-placed to provide expertise and ideas for the future of the creative industries in Victoria. We attach our submission and look forward to keeping in touch on this key initiative for Melbourne, Victoria and Australia’s future creative industries. -
Teacher's Notes 2007
Sydney Theatre Company and Sydney Festival in association with Perth International Festival present the STC Actors Company in The War of the Roses by William Shakespeare Teacher's Resource Kit Part One written and compiled by Jeffrey Dawson Acknowledgements Thank you to the following for their invaluable material for these Teachers' Notes: Laura Scrivano, Publications Manager,STC; Tom Wright, Associate Director, STC Copyright Copyright protects this Teacher’s Resource Kit. Except for purposes permitted by the Copyright Act, reproduction by whatever means is prohibited. However, limited photocopying for classroom use only is permitted by educational institutions. Sydney Theatre Company The Wars of the Roses Teachers Notes © 2009 1 Contents Production Credits 3 Background information on the production 4 Part One, Act One Backstory & Synopsis 5 Part One, Act Two Backstory & Synopsis 5 Notes from the Rehearsal Room 7 Shakespeare’s History plays as a genre 8 Women in Drama and Performance 9 The Director – Benedict Andrews 10 Review Links 11 Set Design 12 Costume Design 12 Sound Design 12 Questions and Activities Before viewing the Play 14 Questions and Activities After viewing the Play 20 Bibliography 24 Background on Part Two of The War of the Roses 27 Sydney Theatre Company The Wars of the Roses Teachers Notes © 2009 2 Sydney Theatre Company and Sydney Festival in association with Perth International Festival present the STC Actors Company in The War of the Roses by William Shakespeare Cast Act One King Richard II Cate Blanchett Production