Posts Tagged ‘vena cava


Introducing Katelyn Panagiris


Welcome Katelyn!


I always mean to introduce our new writers but there is always so much on that they are invariably writing before I get a chance to do so! We’ve recently welcomed Brisbane based Katelyn Panagiris to the team.


katelyn panagiris


My name is Katelyn Panagiris and I am a young theatre maker currently studying a Bachelor of Business / Bachelor of Fine Arts (Drama) at QUT. From a young age I have had a serious love affair with the theatre and since the age of about eight, have seen my future in the industry.


I recently graduated from the Queensland Academy for Creative Industries (QACI). Here I was given the opportunity to study theatre, mainly through practical experience and under the guidance of incredibly supportive, dedicated and knowledgeable teachers. Over my three years at QACI I was exposed to several new styles and ways of thinking about theatre. I was challenged, tested and ultimately left the course with my understanding of theatre fundamentally changed.


At the centre of the course was the simple question, what is theatre? This question continues to drive me forward everyday.


I have an insatiable hunger for more knowledge and most importantly, experience. The artists and companies that surround me both locally and internationally are a constant source of inspiration. These artists have paved the way for me, and I know that ‘I stand on the shoulders of giants to see further’.


I know that I am young and that I have barely even scratched the surface of my practice. I know that I am entering a complex industry with plenty of challenges – the majority of which I don’t yet fully understand or appreciate.


Perhaps naively, I have decided that all I can do for now is embrace the present moment, trying my hand at as many roles as possible.


Under the mentorship of Kathryn Kelly, I am currently trying my hand at Resident Dramaturg of Terra Nemo Theatre Company – a company providing opportunities for young artists to experiment with and develop their practice through producing new theatre created entirely by young people. I have also recently performed Pinch Mea solo work directed by Katie Farr and presented by Dead Owl Factory as part of Anywhere Theatre Festival. This was my first experience with Anywhere Theatre Festival and I thoroughly enjoyed performing in non-traditional spaces as part of this diverse and culturally significant festival.




My next project is Departures, a devised work that I will be directing alongside Zoe Sheppard for Vena Cava’s Fresh Blood Festival. Naturally I am nervous about finally putting my ideas into practice. I’m not sure what the performance will look like or how it will stand up against the work of my idols – all I know is that to create is the only way forward.



As well as making theatre, I am passionate about viewing and reviewing theatre. I hope that my reviews will encourage you to see the interesting new work being produced in Brisbane at the moment.


For me, this year presents an opportunity to extend my knowledge and practice as an artist, and I hope that you too will be inspired to go out and explore as much theatre as possible.


I am so very excited about where theatre is heading as it simultaneously rebels against and incorporates all that has come before. I can’t imagine what the art form will look like in 20 years time, but hope that I will play some part, however small, in shaping its future.



Iphigenia 2.0

Iphigenia 2.0

Vena Cava Productions

Woodward Theatre Kelvin Grove

Reviewed by Meredith McLean

(And posted late, with my sincere apologies to Meredith and my congrats to Vena Cava on their sell-out season! – Ed).

IphigeniaI knew I was dealing with a play rooted in the old texts of ancient playwrights. Vena Cava, as part of their second Mainhouse performance in which a classic text is adapted, chose a piece wonderfully vivid with emotional carnage. Euripides meets Charles Mee’s creation, Iphigenia 2.0. It reminds me of the famous section in the Sistine Chapel titled “The Creation of Adam”; God’s hand touching man’s fingertip. That’s what I feel like when even simply reading Mee’s work. It is as if Euripides had spoken to Mee himself.

But tonight was not an evening with Charles Mee. Tonight I was interested to see how Vena Cava at QUT would go about bringing this crowded text to life. Heavy themes can easily drag a production down if the cast cannot hold the weight on their shoulders. However I didn’t doubt the QUT students under Dave Sleswick’s guidance would falter. In fact they rose to the challenge eagerly and brought the house down instead.

Light is never truly appreciated until you have to find it in the dark. Leaving the audience uneasy in the shadows with eerie music leering from the house speakers I was already excited. Then we’re lit up to find a neo industrial chic about the stage. Tires, wire fences, lockers and military clothes hang about. But the first words do not come so quickly. Before Agamemnon brought hauntingly to life and misery by Pavle Banovic even begins addressing the audience the rigid choreography of the troops set a context for us. A peculiar, militant procession underpins the theme of sacrifice.

But the cast only chains themselves to a universal melancholy for so long before the tension snaps. The fluid motions of the script let a disturbing message creep up on the audience then withdraws fire quickly before feeling overly preachy. We watch our soldiers lurch into a new atmosphere of rage or even romance. At times the comedy distilled in certain scenes is even more striking than the painful ones. A Douglas Coupland-like mannerism of reference to consumerism and popular culture completes the antics of the cast. Even so much as tweaking certain lines to more Australian colloquialisms that everyone can chuckle at.

The violent nature of the power play between Agamemnon and Menelaus is a cold static that ripples in the room. When Menelaus played by Benjamin Warren shares macabre tales of war that make the stomach squirm Agamemnon’s reaction make the heart quicken. Both  Pavle Banovic and Benjamin Warren equally frighten and endear the audience. It is an excellent display by both of the young actors.

The collective as soldiers is another level of performance entirely. They bring to light the questions no one wants to ask. What is right and wrong in war? What is supposed to be fair and what is classified as unjust? Are we doing the wrong things for the right reasons? The troupe commit emotionally and physically for the role at hand. I’m told morning jogs, rigid exercise and a militant mentality is instilled before and during every show. Their dedication to the chaos in certain scenes is an electrifying force

Dave Sleswick in his first collaboration with Vena Cava has set a high standard for himself if he plans to work with them again. How he tops this production I would be eager to find out. Iphigenia 2.0 is a petrifying array of love and violence that will keep you chained to your seat much like the soldiers are chained to the war machine.

The war ended on 4th of August.



Dave Sleswick

Assistant Director

Kathleen O’Sullivan

Production Manager

Mitchell Chamberlain

Assistant Production Manager

Catherine Lilly-Howe

Stage Manager

Rebekah MacCarthy

Assistant Stage Manager

Tara Kingi

Production Designer

Kristy Kuhnert

Assistant Production Designer

Nikiesha Stevenson

Lighting Designer/AAD Head of Productions

Christine Hartley

Assistant Lighting Designer/Operator

Emma Wildman

Sound Designer/Operator

Samuel Boyd


Steph Allsopp

Pavle Banovic

Thomas Bartsch

Jackson Blair-West

Zoe Cobon

Rafaela Diaz-Byers

Kitty Gatling

Rachel Gobel

José Gonda

Joey Lai

Ray Ann Roborg-Sondergaard

Lia Stark

Steph Tandy

Tom van Kalken

Anzjuli Venter

Ben Warren

Amy Wollstein

Tim Winter

NEXT at The Woodward Theatre


Voice + This That Nothing is a double bill of original performance works by Nathan Sibthorpe and Blancanvas Productions.

All Tickets $12
Door Sales Only
Cash Only
Wed 8th + Thurs 9th Aug 7.30pm
Woodward Theatre
QUT Kelvin Grove
As a result of their participation in FAST Festival, both shows will be presented in Melbourne later this month, with support from La Trobe University Student Theatre and Film.

Before they take the leap down south, Voice + This That Nothing will be presented in The Woodward Theatre this week for two fundraising preview performances, supported by Vena Cava Productions. 2 nights only. Door sales only.

this that nothing