Posts Tagged ‘Bille Brown

05
Mar
13

Matilda Awards 2012 – Winners Announced!

Rumour Has It: Sixty Minutes Inside Adele

Congratulations to the 2012 Matilda Award nominees and winners, announced last night at Gardens Theatre to an audience of 350 theatre makers, by the hostess with the mostess, ADELE aka the extraordinarily talented Naomi Price, who boldly and brassily managed to mention aloud every possible aspect of local industry that would ordinarily be left unsaid, leaving the crowd in stitches!

 

We also heard from the Minister for the Arts, Ian Walker (“He’s already doing better than the last one ’cause he’s fucking HERE!”), Cr Krista Adams, and the inspirational, incomparable Caroline Kennison about her win over breast cancer, and the women who continue to inspire her. I cannot begin to describe to you the feeling in the room when Caroline was introduced, suffice to say the room filled with love and admiration for this woman. Similarly, when Helen Howard and later, Margi Brown Ash took to the stage to accept their awards, the generous applause and vocal appreciation for these extraordinary women was overwhelming. Of course the guys received no less love, and it was rather special to have the Bille Brown Best Emerging Artist Award added to the mix, with Lizzie Ballinger being the inaugural recipient.

 

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Big props to Rosemary Walker and the Matilda Committee for putting on such a great show – it gets better and better each year – so that we can come together and celebrate our theatrical community in style!

In the past, the Matilda Awards have battled to be taken seriously and, although they are still so obviously Brisbane-centric, it’s also true that a lot of the best work is happening in the city. If it’s not, it needs to be, in order to be seen by the Matilda panel, and arguably, by the more discerning audiences. Regional theatre makers, you know it’s always been so, so if awards and the street cred that comes with them now are important to you, you’d better get your show on the road and into a Brisbane theatre.

 

—2012 MATILDA AWARD WINNERS—

Bryan Probets

 

Simone Romaniuk

 

Helen Howard

David Walters

Margi Brown Ash

—2012 COMMENDATIONS—

 

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Kelly

Best Mainstage Production
by Queensland Theatre Company

 

A Tribute of Sorts

Best New Australian Work
by Benjamin Schostakowski

 

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A Tribute of Sorts

Best Independent Production
by Benjamin Schostakowski

 

Dash Kruck

Best Male Actor in a Leading Role
in A Tribute of Sorts

 

Emily Curtin

Best Female Actor in a Leading Role
in A Tribute of Sorts

 

Bryan Probets

Best Male Actor in a Supporting Role
in As You Like It

 

Louise Brehmer & Luisa Prosser

Best Female Actor in a Supporting Role
in Thérèse Raquin

 

Therese Raquin

Helen Howard

Best Director
for Thérèse Raquin

 

Simone Romaniuk

Best Design
for Kelly

Lizzie Ballinger

Bille Brown Award: Best Emerging Artist
for Thérèse Raquin

 

Roxanne McDonald

Aboriginal and Torres Strait Islander Career Achievement Award

 

13
Jan
13

VALE Bille Brown

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I’m shocked and so saddened to hear this news. I spoke with Bille recently, at Zen Zen Zo’s Therese Raquin, and I know he will be dearly missed by many.

 

Today the arts community lost a shining light – acclaimed Queensland actor Bille Brown has passed away, after losing his battle with cancer. He was a distinguished individual and a superb actor, forging the way for so many and most certainly putting Queensland on the map.

 

Amongst the ranks of Geoffrey Rush (his dear friend, who was by his side this week), Deborah Mailman, and QTC’s Artistic Director Wesley Enoch, Bille Brown got his start through QTC’s Theatre Residency week at 18 years of age.

 

His work with the Company spanned four decades, following his first mainstage production in 1971, Wrong Side of the Moon. Clearly an audience favourite, QTC cast Bille in 29 productions and produced four of his own written works. In recognising his incredible contribution and support for the arts in Queensland, The Bille Brown Studio was officially opened on 5 July 2002 by the then Minister for Employment, Training and Youth and Minister for the Arts, Matt Foley.

 

The Bille Brown Studio today is home to QTC’s Greenhouse program, a space for emerging artists, new works, exciting ideas and constant debate – just how he would have wanted.

 

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QTC Artistic Director Wesley Enoch said this was a time to remember and give support to each other. “The artistic community of Queensland and Australia has lost a true gentleman. We are part of Bille’s legacy,” he said.

 

“Every actor, playwright, director, stage manager, designer, musician and all the teams who work in theatre in Queensland owe Bille a huge debt. He brought a sense of adventure, love and respect. His talent and love survives in us all.”

 

Paul Dellit has written a beautiful obituary.

 

[obituary]

 

VALE: BILLE BROWN, AM – Actor / Director / Playwright (b. Bioela, Queensland Australia, 11 January 1952 – d. 13 January 2013, Brisbane, Queensland, Australia)

 

Often referred to as ‘The Boy From Biloela,’ Australian stage, film and television actor and acclaimed playwright Bille Brown passed away peacefully on Sunday 13 January 2013 after a short illness, aged 61, in a hospital on Brisbane’s northside. He had been ill for some time but refused to let on just how serious his condition was until recently.

Last Friday the 11th January, he quietly celebrated his 61st birthday surrounded by family and a few close colleagues which included Geoffrey Rush and Bryan Nason.

William “Bille” Brown was born in Biloela, Queensland in 1952. Though he wanted to be a painter he became an actor. Bille Brown studied drama at the University of Queensland. He then began his career in the early 1970s at Queensland Theatre Company, working alongside actors Geoffrey Rush and Carol Burns, under Artistic Director, Alan Edwards.

Bille’s career took him abroad to Britain, where he joined the Royal Shakespeare Company (RSC), and was the first Australian commissioned to write and perform in their own play – The Swan Down Gloves. The show opened the Barbican Theatre (RSC’s Home theatre from 1982–2002) and had a Royal Command Performance. As a member of the RSC (between 1976–1982, 1986–88 and 1994–96) Brown toured with their productions throughout Europe, playing Paris, Vienna, Berlin and Munich. He also appeared in the RSC’s premiere production of The Wizard of Oz in the gender-bending roles of The Wicked Witch of the West and Miss Gulch.

While working in the United Kingdom, Brown also performed in the West End, at the Aldwych and Haymarket Theatres, the Chichester Festival Theatre, English National Opera and Dublin Theatre Festival. While performing onstage at Stratford he was spotted by John Cleese, who cast him in Fierce Creatures, the sequel to A Fish Called Wanda.

In New York City, Brown made his Broadway debut as an actor in 1986 in Michael Frayn’s Wild Honey with Ian McKellen, directed by Christopher Morahan, and as a playwright with his adaptation of a benefit performance of A Christmas Carol in 1985, featuring Helen Hayes, Len Cariou as Scrooge, MacIntyre Dixon, Celeste Holm, Raul Julia, Mary Elizabeth Mastrantonio, Harold Scott, Carole Shelley, and Fritz Weaver, directed by W. Stuart McDowell. He was also an Artist-in-residence at the State University of New York in 1982, and was a visiting Professor at the State University of New York at New Paltz.

Bille Brown returned to Australia to live permanently in 1996. He has had an outstanding career on stage and has performed for many leading Australian theatre companies including Queensland Theatre Company (QTC), Sydney Theatre Company, Bell Shakespeare Company, Malthouse Theatre, Melbourne Theatre Company, Company B, State Theatre Company of South Australia, Marian St Theatre, La Boite Theatre Company and the Old Tote Theatre at the Sydney Opera House. He also appeared regularly in various guises with Bryan Nason’s Grin & Tonic Theatre Troupe.

During his years with the Queensland Theatre Company he appeared in 27 productions, and he played many Shakespearean roles, including: John Falstaff in The Merry Wives of Windsor; the title role of King Henry V in Henry V; and Benedick in Much Ado About Nothing.

During an open-air performance in the Albert Park Amphitheatre of a pre-World War 2 version of the Shakespearean play Much Ado About Nothing, Bille, in role of Benedick, commented to the audience (when an airliner flew over during his monologue), “Don’t worry, it’s one of ours, Alitalia!”.

In 1996 he directed the Australian stage production of Hugh Lunn’s popular novel Over the Top with Jim, for QPAC and the Brisbane Festival, which exceeded box office expectations. He had huge success with his role as Count Almaviva in Beaumarchais’ The Marriage of Figaro, with Geoffrey Rush and Robyn Nevin, which opened the new Playhouse at the Queensland Performing Arts Centre (QPAC) in Brisbane in September 1998. In 1999 he also had major success in Sydney and subsequently throughout Australia as Oscar Wilde in the Belvoir St production of David Hare’s The Judas Kiss.

The same year he accepted an offer to be Adjunct Professor in the School of English, Media Studies and Art History at the University of Queensland, and has given workshops and master classes for drama students.

Bille directed John Cleese in his solo show John Cleese: His Lifetimes and Medical Problems, the operas Don Giovanni and Samson and Delilah and various Shakespeare and Moliere productions.

In 2009 Brown wrote and performed in Queensland Theatre Company’s The School of Arts. The play followed the story of the old ‘College Players’ who toured Shakespeare through Queensland in the late 1960s.

Bille’s other writing credits include the plays: Bill and Mary, Springle, tuff… and Aladdin for The Old Vic, which starred Sir Ian McKellan.

In April 2012, Bille Brown commanded the stage in Melbourne while inhabiting Bruscon, a clapped-out theatre maker and bully who, in the Malthouse Theatre production of The Histrionic, brutalises his wife and children. Brown received united critical acclaim for his role in Thomas Bernhard’s play The Histrionic directed by Daniel Schlusser, which had sell-out seasons in both Melbourne and Sydney.

He was the recipient of a 2009 Live Performance Australia Helpmann Award (Australia’s equivalent of Broadway’s Tony Awards) as Best Male Actor in A Musical for his role as King Arthur in the musical Monty Python’s Spamalot, which had it’s Australian premiere season in Melbourne.

Bille Brown has also appeared in movies, including: Fierce Creatures (1997), The Dish (2000), Oscar and Lucinda (1997) and Singularity (2012), Killer Elite (2011), The Chronicles of Narnia: The Voyage of the Dawn Treader (2010).

Whilst some of his more memorable television credits were: Miss Fisher’s Murder Mysteries ,Rake, Wild Boys, Hollowmen and White Collar Blue.

Bille Brown was recognised twice in the Australian Honours System. In 2001 he was granted the Centenary Medal “for distinguished service to the arts” and in the Australia Day Honours List 2011, Bille was named as a Member of the Order of Australia (AM) “for service to the performing arts as an actor and playwright, and to education”.

In 2011, he also received an Honorary Doctorate of Letters from the University of Queensland.

When the Queensland Theatre Company’s home venue opened at South Brisbane in 2002, they named their intimate 300-seat theatre space the Bille Brown Studio, in recognition of his enormous contribution to the Arts both in Queensland and abroad.

For the past few years Bille was the Industry Ambassador for the Actors’ & Entertainers’ Benevolent Fund of Queensland, a role he cherished.

Bille Brown’s legacy to the arts was enormous, and he will be remembered not only for his talent and the variety of roles and mediums he conquered, but also for his generosity in nurturing and mentoring younger performers all around Australia.

(Paul Dellit, President, Actors’ & Entertainers’ Benevolent Fund (Qld) Inc.)

 

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30
Aug
12

James Gauci in Urinetown

Urinetown

urinetown

– not the place – the musical –

 

We asked James Gauci to tell us about Urinetown – not the place – the musical!

Look, I have to say that he always reminds me a little bit of Chris Evans Captain America

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…oops, sorry; wrong capture (but thanks mercmouth.tumblr.com for posting that one!).

Captain America Chris Evans

Chris Evans as Captain America in The Avengers

But James Gauci is not out to save the world…just Urinetown.

Urinetown opens tonight!

BOOK HERE

Here we go…

James, for those who don’t make the Schonell Theatre at UQ their regular hangout, can you tell us about Underground Productions’ home and a bit of the company history?

 

Underground recently moved permanently to the Schonell Theatre where they stage limited runs of three shows per year. The Schonell is such a great old theatre… seventies vintage with just over 400 seats and home to some of Brisbane’s best community theatre societies. It also happens to be one of Brisbane’s largest stages – it’s even deeper than QPAC’s Lyric. And it has the famous UQ Pizza Caffe attached. I don’t think casts would eat were it not for that glorious establishment.

Underground Productions is the UQ student theatre company, started in the seventies and run under various names through the years. ‘Underground Productions’ has stuck since 1999. Many famous personalities have come up through their ranks, Bille Brown and Geoffery Rush included. Also, I don’t think there’s been a drama student in Brisbane of the last decade that hasn’t heard of Underground’s (in)famous BUGFest!

I’ve come into contact with the company many times before, with friends appearing in dozens of their shows, but this will be my first time performing with them.

 

We last saw you on this stage as Anthony in Ignatians’ production of Sweeney Todd. What drew you to return, this time with Underground Productions, for Urinetown: The Musical?

 

I’ve been extremely lucky this year – Sweeney and Urinetown are two of my all-time favourites. Urinetown is so intelligent, romantic, self-deprecating, self-referential, dry and darkly comic. It runs the gamut of traditional musical theatre musical styles, it’s simultaneously melodramatic and intrinsically human, and it builds up your hope before unexpectedly smashing it to smithereens in a belted full-cast finale. It’s everything I love in theatre.

 

The last water-wise show we saw in Brisbane was La Boite’s Water Wars. Urinetown is a slightly more satirical look at the extreme end of the spectrum, once the world is depleted of natural resources. Can you tell us about the social messages embedded in Urinetown? How has the company approached them and what are the most poignant messages for us today?

 

Urinetown came into being when the show’s creators, Mark Hollman and Greg Kotis, came across a pay-per-use toilet somewhere in France. They took this concept and applied it to the scholar Thomas Robert Malthus’s idea that humanity’s population growth will be checked by famine and disease, eventually reaching a ceiling. A bit of a stretch, yes! But in practical terms, the show’s fictional city has been drought-stricken for twenty years, and this problem has somewhat humourously manifested itself in the central conceit of the show – that it’s a privilege to pee.

Of course, we’re in an age when sustainability is a concept at the forefront of our political and economic discussion – whether it be in terms of the environment, resources, food or water. You’ll come to the realisation that you’re surreptitiously being given a healthy dose of perspective from all angles throughout the show.

However, if you think all that is terribly boring or way over your head, there’s loads of happy music, good versus evil, hilarious comedy and jazz hands everywhere that will make you forget all about it!

 

What were (Director) Lauren Ware’s priorities in the staging and telling of this story?

 

Lauren is an incredibly gifted young performer in her own right. She’s an accomplished dancer and choreographer, a terribly talented comic actress and can blow your socks off with her natural mezzo belt. The best part about this is that she’s so sensitive to the performers themselves whilst illustrating the concept she has for the show. Her priorities have been clean and professional execution of the music, comedy and choreography (I didn’t know my Achilles Tendons could be sore like that…) while maintaining the grounded and honest storytelling that is necessary for the show.

Urinetown is sometimes melodramatic, bordering on pantomime, but always honest. She’s managed to strike the balance extremely well in my opinion.

 

What’s your favourite message in the show?

 

There is so much delightfully meaningful/meaningless rhetoric that comes out of Bobby Strong’s mouth that it’s hard to pin it down to one idea! But I’m a total sap when it comes down to it so I choose ‘follow your heart’. Being true to yourself is all you can really, truly do, and it allows Bobby to live entirely without regret.

Although, as you’ll see, there always consequences to one’s actions… another message that you’ll have to see the show to get!

 

Will we leave the theatre inspired to finally commit to water-saving habits, like turning off the tap when we brush our teeth?

 

Oooh, hard to say. Probably not – the message is a little bit more complex, thankfully – but you should be doing that anyway! You’ll certainly never take a free public toilet for granted ever again.

 

So you turn off the tap when you brush your teeth?

 

Oh yes, absolutely. A combination of good parenting and many years of Sesame Street brainwashing. Youtube ‘Don’t Waste Water’ if you’re ready for a hit of nostalgia.

 

 

The book is pretty wry. At a time when Brisbane is embracing all things meta-theatrical, can you talk about the Brechtian influences of the show and how they have influenced aspects of the show such as design, staging, direction etc? 

 

It’s funny to think of Brecht when looking at Urinetown. All of the elements are there – the broken fourth wall, the minimalistic functional staging, the sensational themes and preposterous prepositions – but it’s not what I’d consider ‘traditionally’ Brechtian, Dialectical, Epic, or whichever term you prefer. For me, instead of being alienated from the action and remembering that I am in fact sitting in a theatre being told a story, I find that I escape into the world, become vastly more invested in the characters, find the comedy that much more hilarious, and the messages hit home much harder. The highs are higher, and the lows are lower.

Brecht may have used narrators and chorus, but he certainly wasn’t one to stage spectacular melodrama! Having said that, I think he would have (possibly secretly) enjoyed Urinetown. 

 

What is it that made this show a Broadway hit?

 

Incredible and deceptively complex music, a spectacularly hilarious and poignant script, and most importantly a totally original idea. Its grassroots origins also helped I think… the show started at an improv group, then went to the New York Theatre Fringe Festival, then Off-Broadway, then Broadway and Tony Awards. It’s the little show that could. And it did!

 

James Gauci Bobby Strong

 

Tell us about Bobby Strong.

 

He’s your textbook hero – a disenfranchised youth, an underdog of society working for ‘the man’ who suddenly has the hopes of an entire community thrust upon him. He loves his family and his friends, but finds it so difficult to reconcile that with his job as an Assistant Custodian of the local Public Amenity where he takes the cash they’ve scraped together just to go to the loo.

His flaw though is his naivety. Sometimes it’s easier to know what’s ‘right’ than what’s ‘best’, but he doesn’t care. Or understand. He’s so adorable.

 

What drives him? Is it the free toilets or is there something more? 

 

It’s so simple to him. He cares so much for the people of his community that he has no choice but to rally them to action. He wants the people to pee for free because the people are free!

 

Have you ever paid to use a toilet in Europe (or do you have a disastrous turnstile-leaping story for us)?

 

Thankfully my stories of toilet tragedy have been few and far between. I think the closest I can gather would be taking a wee as a little kid while standing in a green ants nest. It was only fair – I peed on them, so they peed on me. Difference being that there were hundreds of them. And they pee acid. Yowch.

 

Is there anything else we should know about Urinetown, Underground Productions or what you’re up to next?

 

With Urinetown and Underground fairly covered, next up for me will be Oscar Theatre Company’s Queensland Premiere of the Pulitzer Prize-winning Next to Normal, scheduled for the Cremorne Theatre, QPAC next April. I’m very proud to be working with five of Brisbane’s most insanely talented musical theatre performers. I couldn’t resist seeing the original cast twice when I was visiting Broadway a couple of years ago so I’ll be taking great pleasure in re-creating the roles of Dr Madden and Dr Fine.

Funnily, I think it could be the closest I’ll ever get to actually using my psychology degree.

 

Chookas, James! We hope you enjoy a wonderful season. x

 

Urinetown

14
Feb
12

Dominic Nimo: As You Like It

Dominic Nimo is probably not a name you’ll recognise…yet.

David Berthold’s La Boite production of Shakespeare’s comedy, As You Like It, marks Nimo’s professional debut. It’s an impressive first step into the professional arena and one for which he’s grateful and also tres excited about.

Nimo graduated in 2009 from QUT’s Fine Arts Acting Course. He says he entered as an extremely quiet and shy 17 year old.  The three years at QUT, training with the same 10 individuals daily, was an intense period.

Nimo’s biggest influences during acting training came from the countless mentors and the “very confronting yet valuable” Eric Morris System classes. Required reading was Eric Morris (No Acting Please). “He has many books, however; this was the first book I read as a student and it was a real introduction to Acting as a craft.” You can order Morris’s texts online from our friends at the Book Nook.

Nimo says he felt like a giant sponge, soaking up everything he could. The directors who came in to direct the actors’ 2nd and 3rd year shows were influential across all areas of Nimo’s acting training. “We were very fortunate to have such big names as Sean Mee, Bille Brown and Jennifer Flowers, to name but a few, not only direct us but also teach us throughout the entire process,” he says.

Nimo decided early to pursue acting as a career, simply for the love of it. I guess there are not many of us who go into the arts to make a fortune. “It’s very hard to explain to people the high an actor feels whilst on stage or on location for a shoot; the adrenalin that shoots through your body before you walk on stage for a show can only be compared to jumping out of an airplane before parachuting.  I love theatre, I love film and I love music; there isn’t anything else I would rather do.”

Nimo’s parents support his ambition. From the small island of Samoa, they moved to Australia in 1987; English was their second language. Nimo grew up the youngest of the family (he has two sisters and a brother). “My parents were always very hard-working and from a very young age I was well aware that my parents had moved here to give us greater opportunities in life. It was because of that reason that I felt like I could pursue anything and when I told my parents I wanted to act  they were nothing but supportive. They are very much like my biggest fans and I cannot express how thankful I am that they moved here, otherwise who knows what I would be doing.”

It seems that nothing will deter this ambitious young performer, though he notes, “This is a very tough industry to be in and I have learnt that first-hand from the two years I have been out of QUT. It is very easy to have your spirit broken or lose sight of your passion, however my parents did not raise a quitter. I have a very strong support system so I am not going anywhere.”

Berthold cast Nimo as Silvius, the ideal ‘Courtly Lover’ who is, Nimo explains, concerned only with his incomparable love for Phoebe, despite that love not being reciprocated. “There are many varieties of love explored throughout the play and Silvius introduces the foolery of love, suffering anything for the sake of his beloved Phoebe. I think we all, as humans, have had a lapsed moment where we became fools in love so in that respect, I can relate to Silvius. I have learnt that with characters like him it’s important to play the truth, play his heartbreak and play through the comedy, and the character will come naturally.”

Nimo is one of two new actors to the La Boite stage for this production. He says he was was extremely nervous being “one of the newbies” (Luke Cadden is the other), especially coming into a cast that has so many respected Brisbane actors.

Helen Howard (Hamlet, Colder) and Thomas Larkin (Hamlet, Julius Caesar) lead the 18-strong cast as lovers Rosalind and Orlando. Berthold said, “I needed a brilliant Rosalind. She is the indisputable centre of the play and Helen is indisputably brilliant. The role requires an actor of maturity, and Helen has that in the best possible mix of intelligence, experience and sexiness”

Berthold adds, “She needs to be matched, and Thomas was my one and only choice. He was great in Hamlet, but he blew us away as Mark Antony in Julius Caesar. “They complement each other fantastically – there’ll be sparks.”

Joining Helen and Thomas are familiar faces Helen Cassidy (Orphans), Kathryn Marquet (Ruben Guthrie), Bryan Probets (Edward Gant’s Amazing Feats of Loneliness), Hayden Spencer (Ruben Guthrie), Trevor Stuart (Hamlet), Kate Wilson (Water Wars).

Nimo has felt completely comfortable working with the actors he has admired for so long. “Everyone has been nothing but welcoming and I am very thankful for this amazing experience. I am very quiet in the rehearsal room and that is because, much like at uni, I feel like a sponge, observing and soaking up everything that I can.  I admire how free the cast is and how openly they play in the rehearsal room – sometimes when you are new you find yourself just trying to do everything right and forget everything else. That is the greatest lesson I have learnt from this experience.”

And what of working with one of our pre-eminent directors? Nimo acknowledges Berthold’s wealth of experience and observes that “he is not afraid to offer that to the young actors. This is evident by the eight student actors from QUT and Southbank Institute of Technology he has cast in this production. This is the first year that La Boite has had an actors internship program and it is great because David directs us all the same and that is very beneficial for a student actor.” Can working with a great director and with great actors help in becoming a great actor? Nimo says yes. “I think that is where you can learn the most.” Nimo admires the work of many actors, listing Julia Roberts, Jamie Foxx, Drew Barrymore, Angela Basset and Denzel Washington, Cate Blanchett and Geoffrey Rush among those who have most influenced him thus far. Nimo says he is “a complete sucker for American reality TV.” He also keeps up with Spirited and Boardwalk Empire. He saw George Clooney in The Descendants and he’s currently reading Telesa- The Covenant Keeper by writer/blogger/teacher, Lani Wendt Young. (She’s a mother and wife as well as a writer and she states that in her ideal world, she “wouldn’t need to sleep. Ever. I would just stick my finger in a light socket and get a boost of energy whenever I got tired.”) Not just an actor, Nimo also sings. He says he loves music as much as acting. Perhaps the secret to Nimo’s boundless energy is the light socket of which Wendt Young speaks.

If Nimo were not acting, he says he would still love to be involved in the arts. “I’d love to be an A&R for a record label.” In the meantime, he’ll continue  “trucking along” on his journey as an actor and “hope for more amazing opportunities like this one to come my way.”

In the last two years, with Berthold at the helm, La Boite has tackled two of Shakespeare’s great tragedies. “This time around David has chosen one of Shakespeare’s most infamous comedies,” Nimo reminds us. “This play is so free and playful and at times you will find yourself in tears from laughter, and as opposed to the other two plays, As You Like It ends with one of the most beautiful endings.”

One of the most famous lines from the play is uttered by Jaques, who observes, “All the world’s a stage and all the men and women merely players.” Nimo believes that this means the world is bigger than just one person. “For me it really puts everything into perspective. We come into this world, we play our part and then we exit.”

 

Rosalind falls in love with the younger Orlando at a wrestling match, as you do. Banished from the city by her usurping uncle, she disguises herself as a man, as you would.With her best friend Celia by her side, she seeks refuge in the magical Forest of Arden where she meets Orlando again and teaches him the art of love, just as she likes it.

As You Like It

at La Boite’s Roundhouse Theatre, Musk Avenue, Kelvin Grove Village

Show Times: Tues & Wed 6.30pm, Thurs – Sat 7.30pm

Matinees 2pm Sat 24 Mar and selected mid-week shows Season 18 Feb – 24 Mar

Previews 18, 21, 22, 23 Feb (Tickets from $28)

Director: David Berthold, Designer: Renée Mulder, Lighting Designer: David Walters, Composer and Sound Designer: Guy Webster,

Assistant Directors: Heather Fairbairn and Steven Mitchell Wright

with Luke Cadden (Oliver), Helen Cassidy (Celia), Helen Howard (Rosalind), Thomas Larkin (Orlando), Kathryn Marquet (Phoebe), Dominic Nimo (Silvius), Bryan Probets (Touchstone), Hayden Spencer (Duke Frederick/Corin/Audrey), Trevor Stuart (Jaques/Adam) and Kate Wilson (Duke Senior).

Also featuring students actors from QUT and Southbank Institute of Technology: Thomas Carney, Hanna Galbraith, Thomas Hutchins, Jordan Kadell, Lucy-Ann Langkilde, Jerome Meyer, Alec Snow and Mahala Wallace.