Posts Tagged ‘Greenhouse


Bare Witness must close Saturday

Bare Witness

Bare Witness must close in Brisbane on Saturday

In the digital era of the 24 hour news cycle, how do photojournalists square their commitment to the truth with the media’s voracious need for a graphic image? When the threat of death is a daily reality, why do they do it?

Landing in Sarajevo and joining a pack of seasoned war journalists, rookie photographer Dannie Hills sets out to capture the perfect image. Each photograph she shoots becomes a kaleidoscope of dreams, memories and emotions – exciting, painful, and forever haunting…

Widely heralded as a remarkable piece of physical theatre, this award-winning play integrates fluid movement, live sound design and animated projections with striking originality.With its frenetic and restless energy set against a backdrop of 20 years of conflict, Bare Witness is a visceral experience that will change the way you look at the news.

Created by playwright Mari Lourey and directed by Nadja KostichBare Witness galvanised audiences in its premiere season in Melbourne for its innovative theatrical approach to a topic that many have largely become desensitized to.  Bare Witness takes audiences inside the real life experiences of photojournalists as they grapple with complex moral and physical challenges of reporting from war frontlines. Drawing on actual experiences of photographers and foreign correspondents Bare Witness takes audiences through the Balkans, East Timor and Iraq, scrutinising the complex terrain of contemporary photojournalism against the backdrop of 20 years of ongoing international conflict. Inspired by real events, audiences are taken on a personal journey into the disintegrating mind of the main protagonist Dannie (played by AFI Award Winner, Daniela Farinacci) as she re-lives her experience as a war photographer.  Photographs, memories and dreams collide as she is assailed by a series of images she must piece together as photograph by photograph she moves to make sense of the events in her life that have led her to his point.

The topical, highly charged subject matter of Bare Witness is delivered in a richly drawn, character based narrative story, in the form of thrilling and instinctive physical theatre. The live musician on stage ensures a gripping atmospheric tension, hand held stage lights intrude on scenes, much like  photographers do, and the haunting video design adapts each night to the tenor of the live performance.

“…an amazing dramatic collage describing the exhilaration, the horror, the outrage, the anguish and the dread hopelessness of combat-zone photography…..a beautiful theatrical immersion, a dramatic meeting of presence, movement and arrangement…the kinds of risks that we don’t see enough of”.  Andrew Fuhrmann,

“…an outstanding piece of physical theatre: a punishing, sensually immersive investigation of trauma that never forgets to be intelligent…an overwhelming work…ambitious, smart, beautifully realised theatre.” Alison Croggon, Theatre Notes

“….a strikingly original work….you don’t see this kind of passion for a project often – unwavering and powerful…serious theatre with unrelenting fervour…strong performances across the board with an unselfconscious and evocative physicality”.  Prue Bentley, ABC Arts Online


Friday October 10th 3:30pm

Friday October 10th 7:30pm

Saturday October 13th 7:30pm


A La Mama Theatre/fortyfivedownstairs production. Toured by Performing Lines for Road Work, with the support of the Australian Government through the Australia Council, its arts funding and advisory body, through the national performing arts touring program, Playing Australia and La Mama’s Vic Health ‘Arts About Us’ program.





The Rat Trap

The Rat Trap

Polytoxic & Queensland Theatre Company @ The Greenhouse

Bille Brown Studio

10th – 26th May 2012

Reviewed by Michelle Bull

In a dimly lit corner glistens the muscled physique of a Burlesque King come doorman. He watches intensely as a set of wide-eyed twins chatter and titter girlishly to the audience. A giant anchor dangles from above while Pacific culture is mounted phallic-ally on the wall beside a table laden with champagne…It’s Friday night and we’re here to spend the evening at The Rat Trap, a candy-coloured Tiki bar, that’s steamy, playful and more than a little bit cheeky.

Blending elements of dance, burlesque, circus, vaudeville and physical theatre, Polytoxic’s latest creation divulges tales of five characters caught in the sultry bordello of The Rat Trap. Stripping back to reveal a narrative that mashes pop culture with the Pacific; they whoop, wine and gyrate through high flying burlesque, airborne martial art fight sequences and breathtaking acrobatics, all serving as fitting expressions for their despair, delight and innate penchant for mischief.

Co-Created by Polytoxic and renowned physical theatre and circus director Anni Davey, it is clear that this playful production is determined to challenge, shock and delight its audience. With a soundtrack that takes us straight to the sticky backbench of a seedy bordello in the backstreets of Harlem, The Rat Trap is a visual and aural feast from start to finish. From the moment the doors of the Billie Brown Studio are locked and we meet our host for the evening JanUri, (a delightful diva in drag that to quote one audience member has “better legs than Barbie”), we are lured into the intoxicating world and the delightful ruckus that follows.

Ever the perfect hostess, JanUri (Fez Fa’anana) makes a glorious entrance clothed in a hooded robe and stiletto boots that add to this vaudeville superstar’s commanding presence and absolute magnetism. Destined for the spotlight and effortlessly sexy, JanuUri serves as ringmaster to the characters that take to the boards, as well as instigating much of the mischief that follows. Fez Fa’anana is riveting to watch in the role; his energy and dynamism make for an elegant yet cheeky performance that demonstrates his technical skill without any compromise to theatrical honesty. With strong character development and a clear commitment to the role throughout, it is clear just how much this performer loves his craft!

Helena and Marlena (Lisa Fa’alafi & Leah Shelton) are the next to appear. Siamese twins and all round diva femme fatales, they begin with a tale of a violent separation due to a freak boat anchor incident at sea. Playing out their anxiety upon the ropes (and lips) of the bordello stage, in tandem voice and turn of verse they tell their tale in a style that is reminiscent of a Greek chorus and schoolyard rhyme rolled into one. Particularly charming is the telling of a tale where their kimono robes double as a storyboard, such a unique and kitsch storytelling device! Both these performers show innate comic timing and a beautiful embodiment of their roles both emotionally and physically. In addition to possessing great technical skill in the physicality of their roles, the energy in their ensemble work was electric, and showed a true connection to character and narrative. Equally as strong as their duo are their solo moments, where we get a glimpse of another dimension of their characters and individual journey.

Maurice (Natano Fa’anana), father of the twins, Samoan chief and survivor of the Pacific slave trade is equally compelling in his role and adds a wonderful weight to the chaos around him. Maurice’s Pacific inspired dance and aerial routine, was stunning and had the audience dropping their drinks and jaws at Fa’nana’s physical skill and artistic expression. Never far from the chaos, the character of Maurice is constantly drawn into the rowdiness of his companions but his efforts to maintain composure amidst the commotion make him compelling to watch. Fa’anana quietly commands your attention with his portrayal of this role and performs with grace and theatrical honesty.

The dangerously handsome doorman Mohito (Mark Winmill), and his sparkling…personality were also hard to ignore. Cheeky as a five year old with sticky fingers and just as passionate, he ordered the attention of his audience with all but a devilish glint of his eye.  His ‘anchor’ aerial act was quite the showstopper, and immediately showcased this assured performers strength and physical expertise. Dramatically, Winmill performed with a fiery and roguish charm that made him utterly convincing in the role.

For all its glitter and grime, there is an abundance of touching moments in The Rat Trap, as we are given glimpses into the underbelly of these characters. Aided by the use of tastefully composed multimedia and a simplistic approach to choreography, moments of theatrical significance are ‘book-ended’ and given reverence without compromising the high energy flow of the production. My only disappointment in this production was that at times parts of the set were not visible from where I was seated. That being said, the space was used to it’s potential with the performers performing inclusively through the space, but with such a fantastic set and multiple performers onstage at all times I was greedy for more!

Overall this show is a fantastic offering by Polytoxic Dance Company. It cultivates a sense of danger, spontaneity and excitement within its audience that serves as a timely reminder of what is so thrilling about live theatre! The physical skill of each performer along with their dedication to a rich narrative, loyalty to ensemble and character driven drama makes The Rat Trap a mishmash of mischief too good to miss!

Following The Rat Trap on Friday night, Queensland Theatre Company’s Greenhouse program NightGarden welcomed us back into the world. Emerging from the show buzzing with excitement and wandering into a fairy lit garden where the wine flowed as fast as the post show chitchat was a brilliant way to share the experience with other audience members and fellow creatives descending upon the space for the nights festivities. Billed as “a visceral hothouse of art, ideas and exploration” the NightGarden treated us to pop up performances by Anywhere Theatre Festival participants  Instantaneous Associated: Define and SeeD Theatre Productions, as well as musical stylings by Michelle Xen & The Neon Wild. This new little hotspot is a fantastic hub of creativity and a wonderful way to share a wine or two with like-minded souls, not to mention a splendid way to end a magical night.


so what will the state theatre company of the future look like?

Well now, let’s see. It’s Friday and the Forum (and the opening of The Greenhouse) was Thursday. It seems like an eternity ago! I’ve been busy, yes (I’m always busy) but I’ve been thinking. I’ve been listening to a lot of John Bucchino again lately and this is the core of what I came away thinking (and singing) during the drive back to the coast and upon getting home and going to bed instead of blogging until 2am…


When we look at the state theatre companies across the country, do we not think they all look a bit like this?

Yes. It’s a neat street.

Of course the vision for the QTC of the future varies enormously, depending on who you ask to paint the picture. The many, many, MANY pictures are wonderful! And at least we all seem to agree that we would prefer to see something more like this:

And because we know we can, we want to feel that we are creating work that helps us to look like this:

Imagine what the street would look like if our state theatre companies all followed their dreams and each became a true home to their artists, producing sustainably, a vast array of work in traditional and non-traditional spaces, which truly reflected their communities; their people, their stories, their hopes, their dreams and their realities.


So my point is this: it’s time to drop a great big bloody bucket of orange paint over each of our state theatre companies!

If there’s an Artistic Director game to do it, it’s Wesley Enoch. He has, better than any other as far as I’m concerned, established a firm platform of community engagement and open public forum. Wait. To trump Cate, he may have to appear on a community group’s stage himself somewhere, say in Ipswich…

Some stakeholders prefer to take a similar approach to that of Lucas Stibbard’s, by taking a look at what we don’t want. This is a fine approach to begin with; ruling out what’s not desired and leaving us with the perfect picture! Easy! But there’s no perfect picture, as we know. And that’s why it’s so hard to make the changes. What if we start small? What if we don’t even call our subscribers “subscribers”? Are they not now “season ticket holders”? Language and perception are two of the big orange splots within the bigger picture.

A number of artists mentioned that we might do better to look at the sporting model in Queensland. This is something that Sam (my husband) has been saying for years. A rare breed, he loves his sport AND the arts. Depending on the season and whether or not the art is paying, one will always win out.

Anyway, Paul Bishop, our extraordinary facilitator for the afternoon’s forum (really, he should have his own morning show), introduced by Associate Director of QTC, Todd MacDonald, gave us a brief history of the world’s culture and asked us to fill in the blanks for the last 50 – 60 years, specifically for Brisbane theatre. What? Oh, right. To appreciate where we are now and where we’re headed, we need to understand what’s gone before us. Fair enough.

So we had our afternoon’s schedule on a whiteboard and, armed with coloured felt pens, A4 paper, post-its (and iPhones), although we were already running 15 minutes late, we were ready to change the world!

We realised, after just a few minutes, that there has been far richer theatrical culture in Brisbane than many realise, for much longer than some care to remember. Kaye Stevenson commented that resilient artists have continued to work for a long time in this town. What a timely reminder (mentioned again later, during the Welcome to Country from Uncle Des and the opening address from Wesley Enoch) that we must keep asking our elders what has happened before us. We must be willing to listen and take down their stories. We must re-tell them. We must continue to value that which has gone before. I don’t doubt that we do, just as I don’t doubt that there is anyone who doesn’t want to do things better than they’ve been done before.

The question of sustainability was a major one – it kept coming up in conversation – and it took David Walters, the master of green lighting design (and by green I mean sustainable and not for Wicked), to point out that we had full lights on in the room for the day, for a discussion, rather than all of us looking like death-warmed-up under the ugly lights (he didn’t say anything about looking like death-warmed-up but we all know that’s the issue here).

The theatre is an aesthetic thing! Nobody wants to be photographed under the fluoros!

Luke Jaaniste spoke of the theatre company being more a part of our entire ecosystem, a living, breathing, feeding, inter-dependent organism, though his paper reads more clearly about this than his brief address to us on the day and I urge you to go back and read it. Lisa Erhart gave us the Galaxy Analogy and poignantly noted that she is one of the cool, older, red stars within our galaxy, while there are others involved who are the hot, new, young blue stars. She wants us to smash the elite theatre culture that appears to be – still – associated with the company and for it to become far greater reaching and responsive to community. Anna Molnar used the term “theatre without borders” and also noted, later, that to trademark it or copyright it would defeat its purpose. It was noted that the only “colour” in the room was in the paper and pens. Todd MacDonald summarised that the state theatre company has a responsibility to raise standards and tell the stories that truly reflect our community. This came up repeatedly. In Farmer Rob’s words, we must start to “sell to the farmers.”

Rob spoke about farmers who sing – they’re happier – and have “thrown out the farm”. (I’m waiting to see the link for this organisation and when I do, I’ll add it here.) This became more relevant as we began discussing the traditional space, the buildings and that “elite” culture of pre-booking, dressing “appropriately” and going to dinner and a show. Todd asked, “Should we lose the mothership?” There was deathly silence. As Wesley honed in on later, the place is significant. It’s important to have a home for artists and a place where people can gather together. As a little, tiny, independent company who floats from theatre to theatre, to Boreen Point, to Community Hall, to park, to beach, to living room, to vacant shop, I know this to be true. We feel it. All the time.

IMHO a company needs a place to call home.

The need to re-structure the company came up several times, with artists wanting artists paid first. Fair enough. On the other hand, it was acknowledged that admin need to be able to sell a show in order for the artists to have an audience! Andrea Moor said the company should be one that, “serves the fans and the artists first.” She also wants to see, as we all do, the companies working together. I don’t doubt this is happening more than ever before, with the dialogue now wide open between QTC and La Boite.

Emma Bennison spoke on behalf of Access Arts and expressed her frustration (echoed by many others in the room and on Twitter) at the funding bodies favouring young and emerging artists for far too long. She reminded us that it’s distressing for her sector of the community to see able-bodied actors playing characters with disabilities. There are actors with disabilities who are not even being considered for these roles. I was waiting for Suer Manger to pipe up. Emma also stated, quite rightly, that we can’t possibly become a more inclusive and accessible company while we continue to make assumptions about people (artists) with disabilities.

Angharad Wynne-Jones joined us via Skype (Sigh. There are always technical difficulties, aren’t there?) and shared with us these words:

We need to balance fear and hope. We need to do things better and differently. We need to hold hands before the paradigm shift.

And a wonderful, quirky, living room work, choreographed by Lucy Guerin for the

Matt Delbridge spoke about London’s Green Theatre Project, citing excellent examples to balance the horrific stats of energy use (read waste) by theatres everywhere. You only have to Google “green theatre” to find enough material to occupy your reading time until Arcola Theatre becomes the first carbon neutral theatre in the world. And they will. Check out what they’re doing – for their theatre family and for their wider community – here. Our own Umber Productions achieved a small miracle with David Walters lighting their production of Elaine Acworth’s Water Wars. Their Education Pack provides nice, simple detail about how this was done. I wish the writers and implementers of the new you-beaut rigid bloody curriculum would see more theatre. Just saying.

“I limited the amount of power used. I know it was a kind of arbitrary thing, but I set myself the task – and the show was a touring piece – to run from a 10 AMP (domestic) socket. It simplified things.”

Walters told Kate Foy that the biggest challenge in Water Wars was, ‘getting my head around this approach to lighting. I don’t know of anyone else who’s taken it on. It’s challenging – bloody and dangerous at times but, at other times, very rewarding.’ He continues, ‘… and just because we have the tools doesn’t mean it’s good design. I’m conscious of LEDs being fitted in to what we’ve always known. We’re in transition. We’re in a catchup game now and, for the first time, we have tools we don’t quite know what to do with. We’ve now got computers which have given us extraordinary and sophisticated ways of controlling that light, once we’ve generated it.

Where I am learning is in the area of control. There are old ways of doing things but now there is so much flexibility. For example, there are 60, 80, 100s of channels of control. I’m having to learn to re-think in design terms.’

Right. What have I missed? What we believe is essential to the state theatre company of the future. And the observations from Steven Mitchell Wright. Hmmm. Could have heard a pin drop. Steven said aloud a lot of what has been unspoken. In order to move forward, QTC need to address a lot of problems.  He is an advocate for adapting our language and our labels to better represent the stakeholders. He sees a need for greater depth and transparency in the engagement with community and while he acknowledges that the discussions, debates and forums are happening already, QTC now need to genuinely respond and make the tough calls to bring about real change for artists.
Since I’m still up and here, here is a little something from Travis Bedard, in the middle of the current #2amt discussion (if you’re in theatre and not on Twitter yet, IT’S TIME), re the problem with theatre in America. I include it because we all have to remember that we all have something to do with making changes for a better future. That sounds awfully trite but, especially in our theatrical circles, I get sick to death of hearing the sneering and judgement before support and admiration for our fellow artists. Be a part of the change. Be the change you want to see. Stop wasting paper. Turn off the lights. Get to a show via public transport. Make braver, better, smarter choices. Keep creating new work. Keep sharing the work. Share the love MORE.
QTC is not UNloved. Far from it! We just don’t know how to show our love sometimes.
“You understand of course, given the size of this niche, there’s an almost 50% chance that YOU are a problem with theatre in America?”
-Travis Bedard
No problem here! No problems that are not being addressed, anyway. Keep supporting, sharing and inspiring change. The changes will come about because we continue to challenge, adapt and evolve. Meanwhile, The Greenhouse, the youth ensemble, Wesley’s regular newsletters and the engagement with community give me confidence that QTC are serious about change. For the first time, they are questioning – from the inside – the necessity of rhyme. The state theatre company of the future looks like it’s genuinely open to suggestions and will look very different if we just give them a chance and a bit of encouragement along the way. We need to keep reminding them:
And we need to remember that sometimes, half of the audience – even the invited guests amongst them – are not going to find your art interesting, regardless of the changes you make. This actually happened last night, to my, er, horror. They will continue talking and drinking, regardless of what or who you have put on the stage in front of them. But no problem. Not everybody watches the grand final, either. Let’s not be so precious, let’s not waste time and resources dwelling on it (let’s not decide to leave them off the guest list for the next opening, which was one suggestion I overheard in the more attentive section of The Greenhouse crowd); let’s just get on with the show and bring on the theatre companies of the future.
Check out the forum gallery here and on Facebook.

Heads up: we’re live-tweeting stuff again!

The GreenHouse Season One
QTC’s The Greenhouse opens on Thursday!
Preceding the official opening event is a fascinating forum:
This event is
Forum: What does the State Theatre of the future look like?

But you don’t have to miss it! We’ll be live-tweeting from the inside…

Follow us on Twitter

and tweet us if you have any questions or comments.
The future of THEATRE: where are we headed and how do we get there? Is it sustainable? Is it relevant?

The forum will feature a series of guests and provocateurs who will offer us insights and invitations to discuss the future directions and relevance of the theatre. Get involved and take advantage of this opportunity to make connections and project positively to the future of our industry and our artists.

Guest speakers include:

Angharad Wynne-Jones (Tipping Point and Arts House Melbourne), Rob Pekin (Foodconnect), Steven Mitchell Wright (Danger Ensemble) and Emma Bennison (Access Arts).

In the meantime, I’m pretty intrigued by my invitation from !Metro Arts to tomorrow night’s (late) performance of THE RAVEN, which requests I leave my partner and my gorgeous shoes behind! Now, I love Poe but can I sit through dinner with him?!


Queensland Theatre Company 2012


Queensland Theatre Company launched their 2012 season yesterday. Yes, on a Sunday and on a Sunday that I had already booked…with the first of our final rehearsals for Dancing With the Local Stars. I was devastated to miss QTC’s official 2012 season launch and I even stomped my feet on the lovely new studio floor when the tweets and Facebook check-ins started taking over my Hootsuite feeds…but, boy oh boy, you should see my dancers now! What a fantastic little group of talented, dedicated and absolutely passionate people they are! They are doing it all for nothing – all proceeds raised go to our Sunshine Coast Hear & Say Centre – and they have been working really hard, not only at the fundraising but at polishing the dances so the audience is thoroughly entertained. Yesterday, of course, we had to step it up another notch! With just five more sleeps, we had to raise the stakes! Todd McKenney will be there for god’s sake! They responded well and I’m very proud of them! Also, I’m in awe of their dance partners (a number of Sunshine Coast and Brisbane dance teachers), who have choreographed the numbers, taught their celebrity dance partners the steps and put them through their paces for the last few weeks. Check out the Facebook page for pics and more details about the event. Working with such professional artists makes my job easy!

Anyway, I digress. But I don’t apologise for doing so because this is exactly what happens every single day of my life. We are so busy that there is no single focus. So much is happening here (the blog is looking a little neglected, I know; you only know about half of what we’re up to) that I’ve even had to get Sam multi-tasking. I know! On any given day, we are each working our day job as well as reading, conceptualising, negotiating, directing, casting, managing or producing something new for somebody. Not to mention keeping up with their social media because, as some smarter businesses are finally starting to realise, somebody needs to be doing it! But no wonder we never get a funding application in for ourselves! A friend, who really knows her astrology, says I will never focus on doing just one thing. I’m not supposed to…I’m a Sagittarius. Another friend, who really knows palms, says I’m here this time just for fun. On. This. Earth. For. Fun. I must have worked bloody hard in a previous life! I thank you.

Anyway, lucky for me, Artistic Director, Wesley Enoch and his team, saw the value of inviting the punters (and the actors) in for an open forum the following evening, in order to discuss the season. Not much discussion was had during the presentation itself (and although questions were asked and answered, I had to wonder at the “forum” part; a slightly more structured Q & A session would have really gotten people talking). The bulk of the conversation was in fact being had before and after the event, over drinks. Of course, across social media, the conversation never ends!

I’d already decided to live-tweet the launch. Having read Insider Marketing’s interesting piece (and the comments accompanying it on Facebook) and having been in talks recently with a lot of people about audiences (on the Sunshine Coast, in Sydney and in Brisbane), I was already very interested in how this new season of plays would be sold to subscribers and “new” audiences. Also, because I think that live-tweeting is something that’s not quite happening enough when the obvious realm in which to explore this groovy marketing tool is the theatre. I spoke briefly with Kathryn Fray (Subscriptions) about live-tweeting the shows and events and it’s a really controversial issue! Not that Kath has any concerns about it but, for example, at the launch, a friend who is a journalist was asked repeatedly to stop tweeting because the glow of the iPhone was giving some woman a migraine! WTF? MOVE! And, with Pygmalion upcoming, which is the play that inspired My Fair Lady, it might be more appropriate, though entirely, unashamedly re-contextualised, to shout at such an ignoramus, “MOVE YOUR BLOOMIN’ ARSE!” Look, it’s so gorgeous and Melanie Zanetti looks SO elegant and Audrey in the poster for Pygmalion, we are going to stop and enjoy the entire My Fair Lady race scene again, right here, right now. Go on. You’ll love it and then you’ll want to book your tix for Pygmalion online immediately after!



I’m also excited about David Williamson’s Managing Carmen, Dario Fo’s Elizabeth, Matt Ryan’s Kelly and a brand new take on Romeo and Juliet. I’m keen to see what comes of Wesley’s positive, affirmative, action-packed leadership and I’m intrigued with the shape the Greenhouse might take (it’s replacing the Studio season and making the Bille Brown Studio the place where the “artists can get their hands dirty”. It will offer workshops, master classes and creative development for new works, not to mention a youth theatre, eventually, in some shape or form, focusing on training and mentorships, in the tradition of the Associate Artists program). 2012 at QTC seems to be all about the relationships and – not to throw all my uni words on you at once but – all about welcoming, enticing, seducing audiences, engaging them and making connections with them so they feel not only a part of that theatre community in the stalls (or the gallery or the cheap seats or wherever) for the duration of the piece but also, as they leave, they feel a part of something that is the wider community and that community is one that has theatre – art (living, breathing, able to move us and revive us art) – at its heart.



Isn’t she stunning?!

As far as selling the season goes (and I asked specifically about the Greenhouse season, made up of largely unknown works presented within a largely unidentifiable structure), Wesley implored us to engage our networks, to get the word of mouth happening and unashamedly use our own circles and contacts to promote the good work that’s being done. I think Brisbane creatives are more supportive of each other than they care to admit. But I don’t want to give up my sources either so we’ll hope that the mutual admiration society (and communication rather than that uneasy sense of competition we were beginning to feel there for a while) continues to foster relationships amongst the artists.

The other thing I’m interested in watching is how QTC get on with utilising their social media for optimum results. The trick will be, now that the company has established a strong presence online, to connect with people in a way that elicits heartfelt responses.

How have  you responded to the season? What do you think? What are you talking about? What will you be seeing? Is there anything there that doesn’t interest you? Why is that?

To view the entire season and to book tix go to the website. Actually, this links to Wesley’s blog on the website and I thought you should read it. Not every AD is able to connect with his audiences so genuinely and I think that will be a big part of QTC’s resurgence/revival/rebirth in 2012.


To read the tweets from Sunday’s launch and from Monday’s forum search #qtc2012 


To read my feed from the forum follow me on Twitter


To see the comments that peeps don’t put up on this blog (or on … anymore!) connect with XS Entertainment on Facebook


At some stage, I’ll have to fill you in on the rest of Dancing With the Local Stars, our show at the Sydney Children’s Festival, The Book of Everything, 10 000 Beers, The Book Into The Fire, Dance Edge Studios and the rest of it, including long overdue #ATF links and the Sunshine Coast Theatre Festival forum topics and reviews!

Did you know that my Skype student, Elisabeth, is one of our new Jane Banks in Mary Poppins?

Did you know that our work experience student, Libby, was the last Queenslander in the final Sydney auditions for the new Young Talent Time?

Did you know my sister has really gone and run away with the circus this time? She and the husband and the three children are currently in Russia with Saltimbanco!

Did you know that Wolfe Bowart will be at The Events Centre in the morning, with his show, The Man the Sea Saw? I missed it in Sydney and I haven’t been asked to review it up here so Poppy and I are going just for FUN! WHEEEEEEEEEE!