Posts Tagged ‘melbourne

01
Dec
16

Matilda the Musical opens tonight!

Matilda the Musical opens tonight!

 

Matilda the Musical opens tonight at QPAC! The Brisbane cast features the same powerhouse principles and welcomes to the stage four new local Matildas: Izellah Connelly, Annabella Cowley, Venice Harris and the Sunshine Coast’s Eva Murawski.

 

matilda_leads

 

matilda_brisbane

 

matilda_matilda

My teen niece, Ayla Vashti, saw Matilda in Melbourne and wrote this review…

Nobody but me is gonna change my story. There is a certain element of magic in those words; a promise of more mischief and wonder to come.

Matilda The Musical was based on the beloved novel by Roald Dahl. Written by Dennis Kelly, and directed by Matthew Warchus, it is an assault on the all the senses; audio, visual and even emotional. It is the winner of over 50 international awards, including 12 for Best Musical. The Observer reviewed it, saying, “It’s hard to imagine a show capturing the spirit of Roald Dahl’s literary world more perfectly than this one.” Being an avid reader of all of Dahl’s works, I wholeheartedly agree!

matilda_melbourne

The title role of Matilda was played in rotation by Dusty Bursill (age 11), Tiana Mirra (age 11), Alannah Parfett (age 10), and Ingrid Torelli (age 9). These girls perfectly captured the essence of the witty and comical character that is Matilda.

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Elise McCann (Fiddler On The Roof, Mamma Mia) was the ever sweet Miss Honey, with her dulcet tones filling the theatre and bringing tears to the eyes of the audience. The roles of Mr and Mrs Wormwood played by Daniel Frederikson (Ghost Rider, 2007) and Marika Aubrey (Miracle City). Their hilarious British accents and moronic comments had the audience in stitches with their stupidity. One of the most stand-out characters of the night was the large and terrifying Miss Trunchbull. This fantastic monster was brought to life by the incredible James Millar (Jesus Christ Superstar, Gutenberg! The Musical!). The eight other children in the schoolyard and the adult ensemble were all once more extraordinary actors, particularly Lavender, a girl who was so comically over-the-top that it made you laugh just as much as it made you cringe, feeling for the poor girl’s parents!

Entering the theatre my eyes were instantly drawn to the fantastic set; enlarged scrabble pieces and letters scribbled on blocks were stacked haphazardly, every now and then creating words. Naturally the letters that make up Matilda were recurring, my brain automatically making the connection to Matilda without the word actually ever being spelt. The opening song (Miracle) entranced me, drawing me into the fantastical world that was being created on the stage in front of me.

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One of the most outstanding moments of the night was the scene in which Miss Trunchbull picks up a young girl by the name of Amanda Thripp by her plaits, and swings her around before throwing her! This was done extremely well, and Amanda came dropping down at just the right moment to cause heart palpitations among the viewers!

Tim Minchin is the genius that is to take credit for the music and lyrics. His songs are just the right mix of mischievous and whimsical, comical and solemn, effortlessly leading the audience on an emotional journey as they follow this little girl’s story.

Projections were effectively used to further the story, capturing the audience’s attention and keeping them mesmerised by the story that was playing out in front of their eyes. The technical elements only added to what was already an outstanding performance through skilful manipulating of lights and sound to give an almost dreamlike quality to the production.

Matilda The Musical is an extraordinary tale about an extraordinary girl with a vivid imagination, brought to life by the genius mind of Dennis Kelly and the witty and catchy tunes of Tim Minchin. It helps to remind us of all the fun of being a child, yet the longing to be grown-up, and that sometimes, you have to be a little bit naughty!

At QPAC from November 25 – February 12 

 

07
Dec
12

An Afternoon With Stephen Sondheim or Diary Excerpt of a Fanatic

A Funny Thing Happened on the Way to the Forum

A very talented and very fanatical friend of ours took off to see Stephen Sondheim in Melbourne, while Mr Sondheim was here to see the hit production of A Funny Thing Happened on the Way to the Forum and answer a few questions in a forum of a different kind…

 

Contributed by Darren Heskes 

 

What started as “An Evening with Stephen Sondheim” for me became “two postponed evenings with Sondheim” (he had fallen in England whilst walking and talking, fracturing his  right wrist), 2 non refundable airline tickets, a hotel room that had been paid for (which resulted in me going to Melbourne just to use up the accommodation and second airline ticket), and a “hang the expense, I’ll take the family down South and pay extra to see Forum weekend. Like I had money to burn!

 

It wasn’t the latest Smash hit  musical or  Lady Gaga concert that  the obsessive ones sell their parents to see, so why do all this to see an 82-year old man being asked questions that I already knew the answers to?

 

BECAUSE HE’S STEPHEN SONDHEIM! 

 

Of all the people in this world Sondheim is the only one I would ever  make this kind of effort to see.

 

 

I could have bought a ticket to New York and camped outside his place for the same cost.

A career spanning over 55 years as the ultimate theatre songwriter: lyricist  for West Side Story and Gypsy leading to his eventual destiny providing music and lyrics to his  revolutionary and sometimes daring masterpieces Forum, Company, Follies, A Little Night Music, Sweeney Todd, Sunday in the Park with George (my number one musical of all time), Into the Woods, Assassins and Passion. He  has worked with  some of the biggest Broadway and West End  giants and I could spew forth wads of info your way but come on! You have a computer…Look him up. If you’re unfamiliar then it’s time to get acquainted as there will never be another Sondheim, just as there’ll never be another Shakespeare or da Vinci.

 

“In Person”. That concept seems ridiculous, something  that interests fanatics and stalkers. I was no different. I was even annoying the concierge at the hotel he was staying at. But I wasn’t alone and although he made it quite clear during the anticipated afternoon  that he could not write at present (the wrist damage is severe as he is right handed), the faithful stood waiting at the stage door with programmes, scores and paraphernalia to have him sign. I was no better. I took note of the non-signing but made sure I left a musical proposal for him to peruse with the stage door manager (like I’m the only one who’s ever done that). I know full well the cold truth of reality but that doesn’t mean I’m not checking my email every day, just in case.

 

Anyway… After a brief delay waiting for the greatest songwriter of the latter 20th century, there he was… in person! Shorter than I imagined. Christopher Lawrence asked thoughtful and well researched questions that Mr. Sondheim was both surprised and pleased with. Excellent for the less dogmatic admirers, but for the ravenous devourers we wanted to have him all to ourselves. Musical excerpts were performed by various artists, and not having been a Packed to the Rafters follower all I can say is “OMG… that Hugh Sheridan can sing!” What a voice. The most perfect rendition of the title tune from the less successful opus Anyone Can Whistle. Even Stephen (well, I’d hoped we’d be on first name terms by now) was moved. To the point in fact that he scolded someone taking photographs during  the song.

 

Silvie Palidino’s Not a Day Goes By from Merrily We Roll Along was not only incredible to listen to it brought the Maestro to tears. Less convincing unfortunately, was Martin Crewes who did the Sunday in the Park excerpts. It just didn’t do it for me. Now if Hugh had sung it I would have been on my knees sobbing like an infant. Everything these days is cross-promotional and so this was in preparation for the 2013 Melbourne season of Sunday in the Park. Now if it was a Quast or Jackman in the lead (as they both had done so in the past), or even a Sheridan, I’d be booking passage immediately. Crewes, although capable, is no heavyweight. 

 

Geoffrey Rush joined Christopher and Stephen on the stage for 15 minutes of further cross promotion (Forum) and as entertaining, funny and talented as he was, I came for the awkward New Yorker. It did give an insight however into the methods and abilities of Mr Rush and why he is where he is today.

His attention to detail is second to none and for a self confessed non-singer he puts many  supposed singers to shame. 

 

Now back to Stephen…While we were lead chronologically through his career, with 2 interrupted hours there was no time to be stuck on 1959’s  Gypsy ( I mean, he was allowed to write lyrics only at this point at Ethel Merman’s request) and while Mr Lawrence attempted to steer proceedings further on, many in the audience had to let out a sigh to delay things another 5 minutes! COME ON PEOPLE! The highpoint of all musical theatre was his career from 1970-1994 and we still had another 11 years to go. TIME’S TICKING! Unions wouldn’t allow for a finish any later than 4.30 pm so MOVE IT! 

 

At interval I went off to do the usual: buy a drink, go to the toilet. Little did I know that those that remained milling in the auditorium were given a survey and then they selected 3 people to ask Mr Sondheim a question each…WHAT?! If I’d have known that I would have worn an adult nappy that day just in case. OH what wasted questions! It was like being given 3 wishes and wasting every one of them. The first question was by an older gentleman with the need for people to think he was witty, the second by a  young bassoonist who went and sat back in her seat mid answer (2 wishes down) and the third by a bumbling student not even aware of the full extent of Sondheim’s career. Folks…he went from strength to strength well after West Side Story and 55 years on he would like to forget some of his early career cringe-worthy lyrics. 

 

It’s a shame most people in this country are not as well versed on Sondheim as they should be. The more recent Burton film Sweeney Todd, which may have brought a younger generation a taste of Sondheim, is style over substance. Don’t ever see the film versions of A Little Night Music or Forum… They’re rubbish.  However you will never regret getting your hands on the filmed stage versions of Sunday in the Park with George and Company, the original cast recording of Sweeney Todd and the Sondheim biography by Meryle Secrest. Life-changing.  

 

So all in all was I satisfied… Not really.

But I would not have missed it for the world.

 

I mean… HE’S STEPHEN SONDHEIM! 

 

Stephen Sondheim

23
Nov
12

Sondheim says…

A Funny Thing Happened on the Way to the Forum

 

 

Stephen Sondheim is in town!

 

No, not in Brisvegas but in Melbourne for Frosty’s A Funny Thing Happened on the Way to the Forum, directed by Simon Phillips and starring Geoffrey Rush.

 

Of course you knew that.

 

But did you listen to the conversation he had on Radio National (Books and Arts Daily) with Michael Cathcart?

 

If you missed it, take the time to listen now and catch up on reviews from Crikey and The Age.

 

Is Forum your favourite Sondheim show?

 

 

 

07
Nov
12

Rumour Has It: Sixty Minutes Inside Adele

Rumour Has It: Sixty Minutes Inside Adele

 

Rumour Has It: Sixty Minutes Inside Adele

Brisbane Cabaret Festival

Stockholm Syndrome 

2nd & 3rd November 2012

  

Reviewed by Xanthe Coward

 

The Adele Effect

                                                                                                                    

“I just wanna make music…” Adele

 

Naomi Price Adele

Look, I didn’t disclose it before but Naomi Price is a friend of mine. And I don’t mind telling you, without any bias at all, that she is one of a kind. The girl is gorgeous, creative, clever and funny; she possesses an incredible voice and a versatility that means we’ll see her forever, Meryl Streep or Madonna style, and she is humble and hard working. Also, she’s met Cate Blanchett and frequently wears fabulous shoes that I covet, so it goes without saying really, that I’m a big fan.

 

Naomi’s new show, Rumour Has It: Sixty Minutes Inside Adele is exactly that. It’s sixty superb minutes of alternative pop star, Adele, from the inside out, guts and gags and all.

 

Respectfully donning a fat suit rather than a couple of pairs of Spanx, with trademark red hair on fire – this time it’s flaming, cascading locks by Dextress Hair Face Body – Naomi Price steps out of herself to become Adele before our very eyes…and ears. The voice is pure – no gravelly after-effect of smoker’s vocal damage here – and at the same time, it’s near enough to have us captivated and completely convinced. At times we hear a little vocal fry and the recognisable catches, cries, snags and sobs, as well as THAT LAUGH… but this is not just Adele. This is Naomi Price channelling Adele and it’s much more interesting.

 

Rumour Has It is the upbeat opening number, immediately engaging the full house (everyone is still sober so everyone can get the claps in!), and introducing us to the prowess of musicians, Michael Manikus and Jason McGregor, and the charms and extraordinary vocal versatility of Luke Kennedy, who sings backup, having received charts for the songs only a week before the gig. These guys make a tight outfit and they work seamlessly together to take Adele through her many hits. The next is Rolling in the Deep and it is during this number that we realise we weren’t mistaken; we’ve seen the mannerisms of Adele, her every gesture. And then we hear the speaking voice; it’s the Tottenham accent that baffled America when Adele spoke at the Grammys. The mimicry continues through razor sharp patter, which is co-written by Adam Brunes; it draws from the crowd delighted hoots, whoops and more laughter than I’ve heard from a single audience in a long time. With the additional brilliance of Brunes, known particularly for his marketing savvy at La Boite Theatre Company, the references to Adele’s upbringing, boyfriends and brand new baby boy are backed up by loads of research and the gags are genuinely funny. This is a show that would barely need recontextualising in order to achieve global success.

 

Naomi Price Adele

Outside of the patter, the songs are not so smile inducing. Well, c’mon, the woman’s written a heap of lyrics about “rubbish relationships” (actually, she says everybody assumes she’s miserable so she’s going to stop singing about failed relationships), and Naomi perfectly captures the heartbreak. Not during Someone Like You, as one might expect, as this is ingeniously re-appropriated late in the show into a tongue in cheek medley, comprised of My Heart Will Go On, Love on Top and Rehab (these are performed over three vamps and patter segments, showcasing Naomi’s potential to tour next, among other personalities, a Celine Dion cabaret cum tribute show), but during Turning Tables and Don’t You Remember. Now that’s a whole lotta’ heartbreak and heavy heartache right there. PURE PAIN. And Naomi nails it; we feel every pinch and scratch and below the belt punch in the guts. Again, the body language and gesture help us to take the journey; with head thrown back and hands out as if to steady herself, we are mesmerised by her Adele. Instead of destroying us completely by continuing down the same sad path, however, Naomi just as suddenly gives us her best Spice Girls impersonation in a Chasing Pavements mash-up. You have to see this number to believe it!

 

During interval the intimate space upstairs at Stockholm Syndrome becomes a hive of activity, as friends and industry types mingle and collectively rave; a sure sign that the Brisbane arts scene is alive and well, and that its community is flourishing and enjoying supporting one another more than ever. Also, that this show is a sure thing. It’s pleasing to note that nobody is faking the rave.

 

We come back from interval to more champagne and more surprises. Luke Kennedy gives us his rendition of Gotye’s Somebody That I Used to Know. Honestly, Kennedy is the whitest black chick since Christina Aguilera and I’d like to see him do his own show next!

 

Following the aforementioned medley, featuring the hilarious Celine Dion impersonation, the perfectly poignant finish is Make You Feel My Love. Naomi induces smiles through tears and leaves everybody wanting more. I’m sure Naomi Price has what other performers wish they could get in a bottle, and what discerning audience members wish was more prevalent on our television screens. She’s a polished performer, bringing a whole lotta’ sass and her own style to the scene.

 

And it’s a tough scene. Cabaret is hard to pull off, y’all! To get the right blend of fun, self-deprecating humour, pathos and pure talent together to convincingly portray (and poke a little fun at) a woman like Adele is testament to The Little Red Company’s ability to break into the country’s cabaret scene with relative ease.

 

Rumour Has It: Sixty Minutes Inside Adele is set to propel Naomi Price on the meteoric rise to fame we’ve all been expecting, if only she can get it seen outside of Australia. With the contacts she and Brunes have between them, I daresay that day (or lively night) is not far away. Meanwhile, for those of you in Sydney and Melbourne, your chance to spend sixty minutes inside Adele is next!

 

Rumour Has It Slide

 

06
Aug
12

The Helpmann Award Nominations 2012

An Officer and a Gentleman

Ben Mingay and Amanda Harrison. Image by Brian Geach.

Thanks to Ashleigh Wilson and The Australian, here is the full list of Helpmann nominees. Now, that’s FAST!

For the first time, the nominations were announced concurrently in Sydney, Melbourne and Brisbane.

The List of Nominations in each of the 41 categories for the Helpmann Awards® was announced this evening in Sydney, Melbourne & Brisbane, at the Capitol Theatre, Sydney, Arts Centre, Melbourne and QPAC, Brisbane.  Simon Burke hosted the Announcement Event in Sydney, Bert LaBonte hosted in Melbourne, and Bille Brown AM hosted in Brisbane.

The 2012 Helpmann Awards®Ceremony, the 12th presentation of the Awards, will be held on Monday 24 September at 8pm at the Opera Theatre, Sydney Opera House.

Tickets go on sale to the general public on Tuesday 7 August and can be purchased from the Sydney Opera House Box Office 02 9250 7777 or http://www.sydneyoperahouse.com

www.helpmannawards.com.au

Full list of Helpmann nominees:

BEST COSTUME DESIGN

Laurel Frank
Steampowered
Circus Oz

Akira Isogawa
Romeo & Juliet
The Australian Ballet

Tony Maticevski and Richard Nylon

Aviary: A Suite for the Bird
Phillip Adams BalletLab in Melbourne Festival 2011

Tony Tripp and Tracy Grant-Lord
The Importance of Being Earnest
Melbourne Theatre Company

BEST SCENIC DESIGN

Robert Brill
Moby Dick
State Opera of South Australia

Gypsy Taylor
The Red Tree
Barking Gecko Theatre Company

Brian Thomson

La Traviata
Opera Australia – Handa Opera on Sydney Harbour

Tony Tripp
The Importance of Being Earnest
Melbourne Theatre Company

BEST LIGHTING DESIGN

Paul Jackson
Little Match Girl
Malthouse Theatre in association with Meow Meow Revolution

Paul Jackson
Elektra
A Co-Production of West Australian Opera, ThinIce, Perth International Arts Festival and Opera Australia

Matthew Marshall
The Red Tree
Barking Gecko Theatre Company

Nick Schlieper
Gross Und Klein (Big and Small)
Sydney Theatre Company

BEST SOUND DESIGN

Tony David Cray
La Traviata
Opera Australia – Handa Opera on Sydney Harbour

Gareth Fry
Kevin Spacey RICHARD III
THE BRIDGE PROJECT, Produced by The Old Vic, BAM & Neal Street, Australian Season presented by Andrew Kay & Liza McLean

Peter Hylenski
Dreamworks How To Train Your Dragon Arena Spectacular
Dreamworks Animation and Global Creatures present How To Train Your Dragon Arena Spectacular

Bryan Worthern
Foo Fighters w/special guests Tenacious D Stadium Tour 2011
The Frontier Touring Company

BEST ORIGINAL SCORE

Clint Bracknell, David Salvaire, Dylan Hooper
The Red Tree
Barking Gecko Theatre Company presented by Perth International Arts Festival

Jake Heggie
Moby Dick, State Opera of South Australia

Alan John
The White Guard, Sydney Theatre Company

David Page
Belong, Bangarra Dance Theatre

BEST INDIVIDUAL CLASSICAL MUSIC PERFORMANCE

Matthias Goerne
Matthias Goerne – DieWinterreise
Melbourne Recital Centre

Susan Graham
Susan Graham
Sydney Opera House Presents

Evgeny Kissin
Evgeny Kissin
Presented by Sydney Symphony and Brisbane Festival

Anne-Sophie Mutter
Anne-Sophie Mutter plays Beethoven with the Sydney Symphony
Sydney Symphony

BEST MUSIC DIRECTION

Iain Grandage
Little Match Girl
Malthouse Theatre in association with Meow Meow Revolution

Ian McDonald
Songs For Nobodies
Melbourne Theatre Company

Richard Mills
Elektra
A Co-Production of West Australian Opera, ThinIce, Perth International Arts Festival and Opera Australia

Timothy Sexton
Moby Dick
State Opera of South Australia

BEST CHAMBER & INSTRUMENTAL ENSEMBLE CONCERT

KURSK: An Oratorio Requiem
Presented by Melbourne Festival and Melbourne Recital Centre

Syzygy Ensemble – Black Angels
Melbourne Recital Centre

Tafelmusik ‘The Galileo Project: Music of the Spheres’
Musica Viva Australia

Evgeny Kissin
Presented by Sydney Symphony and Brisbane Festival

BEST SYMPHONY ORCHESTRA CONCERT

Master Series 3, 2012
Adelaide Symphony Orchestra

Evgeny Kissin Plays Chopin
Sydney Symphony

Schubert’s Great C Major: Signature Sound
Sydney Symphony

Beethoven’s Pastoral Symphony
Australian Chamber Orchestra

BEST INTERNATIONAL CONTEMPORARY CONCERT 

Foo Fighters w/ special guests Tenacious D Stadium Tour 2011
Foo Fighters and The Frontier Touring Company

Prince Welcome 2 Australia
Prince, Van Egmond Group & Chugg Entertainment

Roger Waters’ The Wall Live
Roger Waters and Live Nation Australasia

Sade
Sade and Michael Coppel Presents

BEST REGIONAL TOURING PRODUCTION

Julius Caesar
Bell Shakespeare

Namatjira
Big hART

Africa
My Darling Patricia, Marguerite Pepper Productions, Performing Lines. A Malthouse Theatre commission

Rainbow’s End
Riverside Productions

BEST CONTEMPORARY MUSIC FESTIVAL

Future Music Festival National Tour
Future Entertainment

MONA FOMA
Museum of Old and New Art

Bluesfest 2012
Peter Noble

Vivid Live 2011
Sydney Opera House Presents

BEST AUSTRALIAN CONTEMPORARY CONCERT

Cold Chisel Light The Nitro Tour
John Watson Management & John O’Donnell

Keith Urban – ‘Get Closer’ 2011 World Tour
Keith Urban and Chugg Entertainment

Kylie Anti-Tour B-Sides Demos Rarities 2012
Kylie Minogue and The Frontier Touring Company

Kylie Aphrodite Les Folies Tour 2011
Kylie Minogue and The Frontier Touring Company

BEST CHOREOGRAPHY IN A DANCE OR PHYSICAL THEATRE PRODUCTION

Phillip Adams
Aviary: A Suite for the Bird
Phillip Adams BalletLab in Melbourne Festival 2011

Danielle Micich
Driving Into Walls
Barking Gecko Theatre Company

Lloyd Newson
Can We Talk About This?
DV8 presented by Sydney Opera House

Stephen Page
ID from Belong
Bangarra Dance Theatre

BEST CHOREOGRAPHY IN A MUSICAL

Kelly Aykers
Annie
John Frost, Power Arts, QPAC and Two Left Feet Productions

Michael Bennett
A Chorus Line
Tim Lawson in association with the Adelaide Festival Centre

Kelly Devine
Rock of Ages
Rodney Rigby and the Rock of Ages Australia Management LLC

Andrew Hallsworth
An Officer and a Gentleman
John Frost, Sharleen Cooper Cohen, Power Arts and Chun-Soo Shin

BEST DIRECTION OF A MUSICAL 

Michael Bennett
A Chorus Line
Tim Lawson in association with the Adelaide Festival Centre

Kristin Hanggi
Rock of Ages
Rodney Rigby and the Rock of Ages Australia Management LLC

Roger Hodgman
Grey Gardens
The Production Company

Simon Phillips

An Officer and a Gentleman
John Frost, Sharleen Cooper Cohen, Power Arts and Chun-Soo Shin

BEST DIRECTION OF AN OPERA

Bruce Beresford
Of Mice & Men
Opera Australia

Leonard Foglia
Moby Dick
State Opera of South Australia

Matthew Lutton
Elektra
A Co-Production of West Australian Opera, ThinIce, Perth International Arts Festival and Opera Australia

Francesca Zambello
La Traviata
Opera Australia – Handa Opera on Sydney Harbour

BEST DIRECTION OF A PLAY

Benedict Andrews
Gross Und Klein (Big and Small)
Sydney Theatre Company

Rachael Maza
Jack Charles V The Crown
Ilbijerri Theatre Company

Simon Phillips
Songs For Nobodies
Melbourne Theatre Company

Sam Strong
The Boys
Griffin Theatre Company

BEST MALE ACTOR IN A SUPPORTING ROLE IN A MUSICAL

Euan Doidge
A Chorus Line
Tim Lawson in association with the Adelaide Festival Centre

Brent Hill
Rock of Ages
Rodney Rigby and the Rock of Ages Australia Management LLC

Bert LaBonte
An Officer and a Gentleman
John Frost, Sharleen Cooper Cohen, Power Arts and Chun-Soo Shin

Todd McKenney
Annie
John Frost, Power Arts, QPAC and Two Left Feet Productions

BEST FEMALE ACTOR IN A SUPPORTING ROLE IN A MUSICAL

Francine Cain
Rock of Ages
Rodney Rigby and the Rock of Ages Australia Management LLC

Nancye Hayes
Grey Gardens
The Production Company

Debora Krizak
A Chorus Line
Tim Lawson in association with the Adelaide Festival Centre

Tara Morice
FAT SWAN – An Adults Only Panto
Showqueen Productions

BEST MALE ACTOR IN A SUPPORTING ROLE IN A PLAY

Patrick Brammall
Clybourne Park
Melbourne Theatre Company

Bob Hornery
The Importance of Being Earnest
Melbourne Theatre Company

Alex Menglet
Julius Caesar
Bell Shakespeare

Trevor Stuart
As You Like It
La Boite Theatre Company

BEST FEMALE ACTOR IN A SUPPORTING ROLE IN A PLAY

Justine Clarke
Les Liaisons Dangereuses
Sydney Theatre Company

Kris McQuade
Neighbourhood Watch
Belvoir

Robyn Nevin
Summer of the Seventeenth Doll
Belvoir

Miranda Otto
The White Guard
Sydney Theatre Company

BEST MALE PERFORMER IN A SUPPORTING ROLE IN AN OPERA

James Clayton
The Tales of Hoffmann
West Australian Opera

Conal Coad
The Marriage of Figaro
Opera Australia

Grant Doyle
Moby Dick
State Opera of South Australia

Douglas McNicol
La Fanciulla del West
Opera Queensland

BEST FEMALE PERFORMER IN A SUPPORTING ROLE IN AN OPERA

Orla Boylan
Elektra
A Co-Production of West Australian Opera, ThinIce, Perth International Arts Festival and Opera Australia

Lorina Gore
Moby Dick
State Opera of South Australia

Suzanne Johnston
Albert Herring
Victorian Opera

Dominica Matthews

The Marriage of Figaro
Opera Australia

BEST NEW AUSTRALIAN WORK

Paul Capsis and Julian Meyrick
Angela’s Kitchen
Griffin Theatre Company

David Chisholm
Kursk: An Oratorio Requiem
Melbourne Recital Centre, in association with Melbourne Festival

Marn Deans, Marcia Ferguson, Bruce Gladwin, Nicki Holland, Simon Laherty, Sarah Mainwaring, Scott Price, Kate Sulan, Brian Tilley & David Woods
Ganesh Versus the Third Reich
Malthouse Theatre & Melbourne Festival with a Back to Back Theatre Production

Elena Kats-Chernin
Symphonia Eluvium
Brisbane Festival

Joanna Murray-Smith
Songs For Nobodies
Melbourne Theatre Company

BEST COMEDY PERFORMER

Wil Anderson
Wilarious
Token Events

Judith Lucy
Nothing Fancy
Token Events

Tim Minchin
Tim Minchin vs The Orchestras Round II
Fox in the Snow

Sam Simmons
About The Weather
Token Events

BEST CABARET PERFORMER

Trevor Ashley
Diamonds are for Trevor
Showqueen Productions, Luckiest Productions and Sydney Gay and Lesbian Mardi Gras

Meow Meow
Little Match Girl
Malthouse Theatre in association with Meow Meow Revolution

Moira Finucane with Rhonda Burchmore, Deborah Conway, Dei Roten Punkte, Pamela Rabe, Phillip Adams’ BalletLab, Meow Meow, Vika & Linda Bull, Kamahi Djordon King as Constantina Bush & The Bushettes, Sosina Wogayehu and Burlesque Hour artistes Maude Davey, Holly Durant & Harriet Ritchie
Burlesque Hour LOVES Melbourne
Finucane & Smith, with Auspicious Arts & fortyfivedownstairs

Caroline Nin
Caroline Nin – Hymne A Piaf
Melbourne Recital Centre

BEST PRESENTATION FOR CHILDREN

White by Catherine Wheels Theatre Company

Arts Centre Melbourne and Sydney Opera House in partnership with Adelaide Festival Centre,
Windmill Theatre Company and Casula Powerhouse Arts Centre

The Red Tree
Barking Gecko Theatre Company presented by Perth International Arts Festival

Statespeare
Created by shake & stir theatre co

Boats
Terrapin Puppet Theatre

BEST VISUAL OR PHYSICAL THEATRE PRODUCTION

CIRCA
Circa

Raoul
La Compagnie du Hanneton presented by Perth International Arts Festival

The Adventures of Alvin Sputnik: Deep Sea Explorer
Perth Theatre Company presents a Weeping Spoon production

The Man the Sea Saw by Wolfe Bowart
SpoonTree Productions

BEST MALE DANCER IN A DANCE OR PHYSICAL THEATRE PRODUCTION

Waangenga Blanco
Belong
Bangarra Dance Theatre

Daryl Brandwood

HELIX
The HELIX Project

Chen Wen
2 One Another
Sydney Dance Company

Paul White
Anatomy of an Afternoon
Sydney Festival

BEST FEMALE DANCER IN A DANCE OR PHYSICAL THEATRE PRODUCTION

Kirstie McCracken
Double Think
Produced by Force Majeure. Presented by Arts House and Force Majeure in association with Melbourne Festival

Tara Soh
Proximity
Australian Dance Theatre

Brooke Stamp
Aviary: A Suite for the Bird
Phillip Adams BalletLab in the Melbourne Festival 2011

Charmene Yap

2 One Another
Sydney Dance Company

BEST MALE PERFORMER IN AN OPERA

Anthony Dean Griffey
Of Mice & Men
Opera Australia

Jay Hunter Morris
Moby Dick
State Opera of South Australia

Rosario La Spina
Turandot
Opera Australia

Gianluca Terranova
La Traviata
Opera Australia – Handa Opera on Sydney Harbour

BEST FEMALE PERFORMER IN AN OPERA

Rachelle Durkin
The Tales of Hoffmann
West Australian Opera

Susan Foster
Turandot
Opera Australia

Eva Johansson
Elektra
A Co-Production of West Australian Opera, ThinIce, Perth International Arts Festival and Opera Australia

Emma Matthews
La Traviata
Opera Australia – Handa Opera on Sydney Harbour

BEST MALE ACTOR IN A MUSICAL

Trevor Ashley
FAT SWAN – An Adults Only Panto
Showqueen Productions

Justin Burford
Rock of Ages
Rodney Rigby and the Rock of Ages Australia Management LLC

Mitchell Butel
The Mikado
Opera Australia

Anthony Warlow
Annie
John Frost, Power Arts, QPAC and Two Left Feet Productions

BEST FEMALE ACTOR IN A MUSICAL

Anita Louise Combe
A Chorus Line
Tim Lawson in association with the Adelaide Festival Centre

Amanda Harrison
An Officer and a Gentleman
John Frost, Sharleen Cooper Cohen, Power Arts and Chun-Soo Shin

Amy Lehpamer
Rock of Ages
Rodney Rigby and the Rock of Ages Australia Management LLC

Pamela Rabe
Grey Gardens
The Production Company

BEST MALE ACTOR IN A PLAY

Bille Brown
The Histrionic
Malthouse Theatre & Sydney Theatre Company

Paul Capsis
Angela’s Kitchen
Griffin Theatre Company

Jack Charles
Jack Charles V The Crown
Ilbejerri Theatre Company

Colin Friels
Red
Melbourne Theatre Company

BEST FEMALE ACTOR IN A PLAY

Cate Blanchett
Gross Und Klein (Big and Small)
Sydney Theatre Company

Robyn Nevin

Neighbourhood Watch
Belvoir

Bernadette Robinson
Songs For Nobodies
Melbourne Theatre Company

Helen Thomson
Summer of the Seventeenth Doll
Belvoir

BEST BALLET OR DANCE WORK

Aviary: A Suite for the Bird
Phillip Adams BalletLab in Melbourne Festival 2011

MASS
Dancenorth

Anatomy of an Afternoon
Martin del Amo, Performing Lines and Sydney Festival

Can We Talk About This?
DV8 Presented by Sydney Opera House

BEST OPERA

Elektra
A Co-Production of West Australian Opera, ThinIce, Perth International Arts Festival and Opera Australia

The Barbarians
MONA FOMA/IHOS Opera

Moby Dick

State Opera of South Australia

The Rakes Progress

Victorian Opera

BEST PLAY

Neighbourhood Watch
Belvoir

The Boys
Griffin Theatre Company in association with Sydney Festival

Ganesh Versus the Third Reich
Presented by Melbourne Festival, Malthouse Theatre and Back to Back Theatre

The Importance of Being Earnest
Melbourne Theatre Company

BEST MUSICAL 

An Officer and a Gentleman
John Frost, Sharleen Cooper Cohen, Power Arts and Chun-Soo Shin

A Chorus Line
Tim Lawson in association with the Adelaide Festival Centre

Rock of Ages
Rodney Rigby and the Rock of Ages Australia Management LLC

Grey Gardens
The Production Company

 

Cate Blanchett Gross und Klein

Cate Blanchett. Image by Lisa Tomasetti.

09
May
12

Short + Sweet comes to the Sunshine Coast


Short + Sweet 2011 Winner Gabe McCarthy

Gold Coast and Brisbane Short + Sweet Winners Brett Klease & Sam Coward

Remember our SRT boys won the Gold Coast and Brisbane competitions?

Remember they came away from the national comp in Sydney in third place?

Should they accept an invite to perform in this year’s Melbourne comp?

This year is your chance to get involved too!

SHORT+SWEET QLD 2012

BRISBANE+GOLD COAST+SUNSHINE COAST

1 AUG – 19 AUG 2012

The Loft (QUT Creative Industries)

Arts Centre Gold Coast

Lind Lane Theatre (Nambour)

Registrations close MAY 30th

Image by Jom Photography

Who can enter Short + Sweet?

INDEPENDENT THEATRE COMPANIES (you can be an established group or just people with a ten minute play idea)

DIRECTORS (established or emerging, choose a script from all over the world, cast it and direct it)

ACTORS (be part of this worldwide festival, auditions announced on June 1)

Short + Sweet believes in the validity of the ten minute theatre form and that ten minute theatre works can stimulate, move and entertain audiences as effectively as longer theatre forms. Through an open call for scripts, general auditions and interviews with directors and Independent Theatre Companies Short + Sweet uses a vigorous merit based process to assemble a season of high quality ten minute theatre which incorporates a broad range of theatrical styles. Through the presentation of these works Short + Sweet aims not only to develop audiences for the ten minute form but to develop audiences for all theatrical forms.