The Mystery of Captain Moonlite
- Authors: Binks, Casey , Cowen, Oliver , Glover, Eidann , Hamill, Kayla , McNamara, David
- Date: 2017
- Type: Text , Visual art work
- Full Text: false
- Description: 27th-28th May 2017; Ballarat Mechanics Institute, Minerva Room Family Theatre Performance Created and performed by: Casey Binks, Oliver Cowen, Eidann Glover, Kayla Hamill and David McNamara A new musical work created by Federation University Arts Academy alumni, The Mystery of Captain Moonlite delves into the life and crimes of charismatic bushranger Captain Moonlite. Imprisoned in Ballarat Gaol for various nefarious deeds including robbery, theft, stealing, obtaining money without consent, and jaywalking, Andrew G. Scott - under the self-styled pseudonym Captain Moonlite - hatched a daring escape plan in the freezing Ballarat winter of 1872. With his motley crew of fellow convicts, Moonlite engineered one of the only successful escapes from the prison. The escapees would go on to politely terrorise regional Victoria (often being mistaken for the rival Kelly Gang), with their bizarre and farcical deeds securing Captain Moonlite’s place in history as the region’s most outlandish outlaw. Using original music created for the piece, five figures emerge from the mists of time to tell the story of their exchanges with the ‘notorious brigand’. Weaving together fact and fiction, verbatim statements from Moonlite’s contemporaries are peppered throughout lively songs and wacky dance numbers for all ages to enjoy. “While researching mysteries in and around Ballarat, we came across the story of Captain Moonlite’s escape and immediately fell in love with this incredible vagabond,” co-creator Eidann Glover said. “It seemed strange to me that I’d never heard of such an interesting historical figure, especially seeing as he was from right here in regional Victoria. He had such a unique personality and seemed like such a powerful character, we were really attracted to the idea of telling his story in a fun and engaging way.” The Mystery of Captain Moonlite is a musical and physical romp for the whole family. Come along for a fun adventure, and learn a little bit about one of Victoria’s hidden nuggets of history.
Living heritage : Ignite your curiosity
- Authors: Campbell, Angela
- Date: 2016
- Type: Text , Visual art work
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Waterloo Canticle No.1: Swords into Ploughshares
- Authors: Chew, Richard
- Date: 2012
- Type: Text , Visual art work
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I see your beating heart : A mother’s cantata
- Authors: Chew, Richard
- Date: 2012
- Type: Text , Visual art work , Musical
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MOMO : a play with music adapted from the book by Michael Ende, Music by Rick Chew, book and lyrics by Anthony Crowley
- Authors: Chew, Rick , Crowley, Anthony
- Date: 2022
- Type: Text , Visual art work , Play
- Full Text: false
- Description: Once upon a time, a young orphan girl appears in the local amphitheatre. The townsfolk, at first perplexed, soon discover that Momo has a special power, the gift of listening. Before long, Momo has transformed the whole community, children play more, people argue less and her friends Beppo Roadsweeper and Guido Guide visit every day. But all that is about to change. Beyond the outskirts of town a dark force is gathering. The Men In Grey and their sinister time saving bank are in need of new customers, and no one in town is safe. Wednesday 2nd November @ 7:00pm Thursday 3rd @ 7:00pm Friday 4th November @ 2:00pm & 7:00pm Saturday 5th November @2:00pm & 7:00pm Ticket available:https://www.eventbrite.com.au/e/momo-tickets-379439462647
The Spirit Level or The Strange Case of Agatha Banks
- Authors: Crowley, Anthony , Chew, Richard
- Date: 2017
- Type: Text , Visual art work
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- Description: 27th-28th May 2017, Her Majesty's Theatre Librettist Rufus Norris Composer Richard Chew Performed by Second Year Music Theatre Company of the Arts Academy Director Anthony Crowley Musical Director Richard Chew A free performance, as part of Ballarat Heritage Weekend The Spirit Level or The Strange Case of Agatha Banks is a new music theatre work by Australian composer Richard Chew and English Librettist – Rufus Norris. Originally commissioned by English National Opera, this will be the first production of the work in Australia, and marks the next phase of its development after a first performance in the UK. “This production at Her Majesty’s Theatre, Ballarat as part of Ballarat Heritage Weekend, gives students the unique opportunity to work with the composer to develop their craft on a contemporary opera, relevant to times and to the young people involved,” director Anthony Crowley said. It allows the composer time to develop the work further – and initiates international relationships that enrich the creation of new Australian writing – further developing the arts practice of Australian directors and theatre-makers.” The Spirit Level is an opera in one act and 13 scenes. It tells the story of Agatha Banks, a Victorian woman, a wife and mother, who is committed to a mental asylum by her husband William when he discovers that she has been taking part in covert Spiritualist meetings with her female friends. The piece was commissioned by English National Opera, for their youth company The Knack. It bucks the trend of many 19th century period dramas in that there are 21 women in the cast and only three men. The Spirit Level is by turns surreal, comic and deadly serious. “The great epidemics of middle-class Victorian women were depression, substance abuse (usually alcohol) and boredom, all fuelled by the ludicrous social and educational restrictions of the time,” librettist Rufus Norris said. “Spiritualism, ignored by men as harmless fun, provided a popular and welcome distraction for many women, and the lunatic asylum awaited others who had no such release”. The Spirit Level is based loosely on the case of Louisa Lowe, who appeared before a Parliamentary select committee in 1887, claiming that she had been wrongfully incarcerated in a lunatic asylum by her husband, for being a Spiritualist.
Farragut North
- Authors: Durban, Kim
- Date: 2010
- Type: Text , Visual art work
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- Description: Live performance of 'Farragut' directed by Kim Durban, Red Stitch Actor's Theatre, St Kilda. 3 February - 6 March 2010. Research Background: Red Stitch Actor's Theatre has focussed on the production of contemporary plays from outside Australia for the last decade. Research Contribution: This contribution was the first production of 'Farragut North' by Beau Willimon, to be mounted outside the USA, and the first to be directed by a woman, during a season in which the Company focussed on the employment of female directors. It was the second highest selling play in the Company's history to date. Research Significance: This was a unique opportunity for Melbourne audiences to be introduced to the work of American playwright Beau Willimon. The playwright attended the season and claimed that this production was confident and excellent. The production was extensively reviewed, a sample of which can be found at http://www.redstitch.net/index.php?option=com_content&view=article&id=65:farragut-north&catid=25:2010&Itemid=6 Subsequent Manifestations: In 2011 Red Stitch Actors Theatre released a book titled 'Ten Years' (by Red Stitch Theatre Actors Theatre, August 2011, Ligare: Sydney) to celebrate their tenth anniversary, and 'Farragut North' was featured on pages. The script was subsequently adapted by Beau Willimon, the playwright, with assistance of George Clooney and Grant Heslov. It was released as the film 'The Ides of March' in January 2012 and was nominated for Gloden Globe awards for Best Film and Best Actor (Ryan Gosling).
Much Ado About Nothing by William Shakespeare
- Authors: Durban, Kim
- Date: 2010
- Type: Text , Visual art work
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- Description: Live performance of 'Much Ado About Nothing by William Shakespear' directed by Kim Durban, Helen Macpherson Smith Theatre, Ballarat. 8, 10, 11, 12, 16, 18 and 19 September 2010. Research Background: Companies all over the world have produced this Shakespeare play which enjoyed its first production by the Arts Academy. Research Contribution: This original Australian production used an innovative approach to the aesthetic of the play by setting the work in outer space, adapting the Shakespearean setting to an intergalactic universe and having each character played by 2 actors so that each had a clone who appeared with them. Original music and dance was also composed. Research Significance: The significance of this research is that it proved the authenticity and theatrical flexibility of the material and provided sophisticated benchmarks for artist training. Durban's ongoing interest in the 'persona' of casting was continued and developed, a study first outlined in her published article The Necklace Theory. Her dramaturgical approach also intersected with current Shakespeare scholarship and introduced the play to a regional audience. It's value is attested to by the following indicators: Cast and creative members have gained employment with national and international arts companies.
Murder on the Ballarat Train
- Authors: Durban, Kim , Greenwood, Kerry
- Date: 2009
- Type: Text , Visual art work
- Full Text: false
- Description: Research background: Kerry Greenwood is an Australian novelist who has written a series of detective novels set in Victoria in the 1920's. Research contribution: This was a uniquely theatrical interpretation, involving storytelling theatre techniques using objects as well as dance and song of the twenties. No words were added to the script and much of the novel was spoken, inclusive of stage directions. Research significance: This was the first theatrical production of Murder on the Ballarat Train, adapted from the novel by the director Kim Durban with the permission of the author, and workshopped with the Graduate Acting company for its Australian premiere in the regional centre of Ballarat.
The White Rose
- Authors: Durban, Kim
- Date: 2005
- Type: Text , Visual art work
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- Description: Research background: Companies and artists around Australia have identified the need for, but also the complexity of, producing a genuinely Australian musical. Research contribution: This original production of a contemporary Australian musical about the Jewish anti-Nazi White Rose movement was mounted with the participation of the author Craig Christie and composer Andrew Patterson one year after its first composition and performance. This challenging work explores the memories of Sophie as she looks back over events from her past as a resistance leader, and demands highly emphathetic acting and vocal performance. The direction provided resources to investigate and examine the dramatic and musical structures inherent in the work with a small regional ensemble. The production developed a 'poor theatre' aesthetic through the use of antique objects and period clothing and a band with 3 members instead of an orchestra. Research significance: The significance of this research is that it proved the authenticity and theatrical flexibility of the material and provided sophisticated benchmarks for artist training. Durban's dramaturgical approach also strengthened the script and introduced the work to a new regionally-based audience. Its value is attested to by the following indicators: 1. The script has gained subsequent representation for its author and composer by Australia's leading musical licensing represetatives Hal Leonard Australia, 2. Cast members have gained employment with national and international arts companies including The Ten Tenors, Tokyo Disney and West Side Story.
Mapgie
- Authors: Grenfell, Sara , Smith, Alistair
- Date: 2017
- Type: Text , Visual art work
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- Description: 18th-20th May 2017, Helen McPherson Smith Theatre Writer Michael Griffith Composer Dallas Rayner Performed by Second Year Music Theatre Company of the Arts Academy Director Sara Grenfell Musical Director Alistair Smith Magpie, set in Melbourne, is written by tram driver and aspiring playwright Michael Griffith. Eight years ago Griffith kept passing this old homeless man in Kew. The man wore several layers of grubby red clothes. To Michael he looked like a character from an Opera. Then, when the choir of hard-knocks premiered Michael realised that if someone rich wanted to join them they would have to pretend to be homeless, and to do that they would need an instructor. Or rather, he realised, this was ‘My Fair Lady’ backwards. He could see it all and knew immediately that it was a musical. Trouble was, he'd never written a song and he couldn't play an instrument, and because his children were still young, his family were surviving on a single income so even if he did possess the skills, he didn't have the time to write a musical. So he decided to follow his head's advice, and ignore it. But the story was too strong and he finally gave in and began writing. Working with music teacher Dallas Rayner, the pair have secretly laboured over the piece through a development at Carlton’s La Mama Theatre and now at Federation University’s Arts Academy. “Magpie could be set anywhere in the world, for its themes are currently both universal and old. It’s a story celebrating the strength of love, then that will be thanks to the perch it was offered by this special University, who allowed Sara Grenfell, Magpie’s determined director to harness the talent and commitment of this gorgeous group of vibrant students,” Michael Griffith said. “Creating a new work of theatre can be at times frustrating and arduous, but ultimately a rewarding and exciting experience. The second year musical theatre students have embraced the project that is Magpie completely. “It has provided a unique opportunity to immerse themselves in a real Australia story that is also universal. They have created real people/ characters that they can identify with. Working with the writer has given the Actors a real insight as to how a piece is put together in order to help facilitate and realise the writer's vision. This is a collaborative process. It has been an invaluable experience for the students, they have learnt so much,” says director Sara Grenfell.
Cloudstreet
- Authors: Hall, Ross
- Date: 2010
- Type: Text , Visual art work
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- Description: 'Cloudstreet', directed by Ross Hall, consisted of 5 live performances at the Post Office Box Theatre, Ballarat during October 2010. The production used the theatrically adapted text by Nicholas Enright and Justin Monjo, based on the original novel by Australian novelist Tim Winton, to explore narrative structures and their relationship to performative transposition from host medium (the novel) to live theatrical performance. The research also explored the parameters of Black Box theatre (theatre performed in a bare black box space), specifically as this relates to large cast productions, where the use of corporeal representation replaces conventional stage machinery (set and costumes). The production also explored the stylistic representational mode of 'naturalism' within the specific context of Australian family drama. The work constitutes part of my ongoing research with respect to adaptation processes and theatrical prepresentation in contemporary Australian pedagogically-based theatre.
The Life and Adventures of Nicholas Nickleby
- Authors: Hall, Ross
- Date: 2009
- Type: Text , Visual art work
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- Description: 'The Life and Adventures of Nicholas Nickleby', directed by Ross Hall, was performed at the Post Office Box Theatre, Ballarat during October 2009. The production was a seven hour live student production of David Edgar's adaptation of the Charles Dickens novel. Specifically, the production explored the research area of narrative structures and their transportation from source medium (the novel) ino the adapted theatre medium: live performance. The production also examined the use of corporeal performative respresentation (bodies in space) within the parameters of Black Box theatre: theatre stripped of all scenographic representation except bodies in a bare black space. The project also explored (and exposed student artists to) vital socio-historic-political domains of nineteenth century industrial England, with the concomitant disciplines of performance style and representational modes. The work consitutes part of my ongoing research with respect to adaptation processes and theatrical representation in contemporary Australian pedagogically-based theatre.
Billy Elliot The Musical
- Authors: Hodgson, Tom
- Date: 2007
- Type: Text , Visual art work
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- Description: Tom Hodgson was resident Choreographer in the production of 'Billy Elliot the Musical', Capitol Theatre, Sydney, Australia and Her Majesty's Theatre, Melbourne, Australia, November 2007 - June 2009; LG Arts Centre, Seoul, Korea, August 2010 - March 2011; and Imperial Theatre, New York, USA, November 2009 - March 2010. 'Billy Elliot Australia' was the first attempt at a remount of the show since it's opening in the UK. Due to the show's specific geographic and cultural themes, it needed to be adjusted to suit an Australian audience. Research contribution: 18 months of research and preparation to format and cast the show prior to the start of rehearsals. Development of individual training regimes for the children and adult performers. Extensive workshops and rehearsals prior and during rehearsals to create new choreography and develop existing material. Creation of the first 'show Bible' documenting the staging and choreography of the entire show. This led to the creation of a new Australian show and the creation of a template for all further productions. The significance of the research is the creation of a first class, multi award winning Australian production. Its value is attested by the following indicators: critical and box office success in Australia; the creation of a template, both artistic and financial. for all further productions; the showcasing of Australian talent leading to high demand overseas for numerous performers from the show; and the use of the show bibles for mounting all further productions of the show. 'Billy Elliot Korea' was the first and to date only foreign language version of the show. The show is very geographic and culturally specific and had already been altered to suit differences in language and culture between the British, Australian and American versions. Research contribution: 18 months of research and preparation to format the show for a Korean audiance before rehearsals. Research into the Korean dance scene, its forms, training, history, culture and structure. Understanding the hierarchy and rehearsal practice of Korean performers. Researching of Korean Labor laws and the creation of working schedules to enable the extensive rehearsal timetable to be created. Preparation of new show Bibles for the Korean production. Developing efficient techniques for demonstrating and explaining choreography through an interpreter. This had led to preparation of templates for future foreign language versions of the show. The significance of the research is that it overcomes the cultural barriers and challenges faced when mounting a large-scale production in a foreign language for the first time. Research for 'Billy Elliot New York' is related to investigating and improving training schedules, fitness programs and rehearsal practice of the Broadway production. Research contribution: Investigating and understanding the existing methods, training hours, diet, rehabilitation, and Labor laws of the American production. Researching a safer, more efficient timetable and work load for the cast and in particular the children. Working with a nutritionist to design a diet meeting the nutritional needs of the lead boys playing Billy. The significance of this research is that it led to a more efficient, healthier cast and crew working on the Broadway production. The creation of a new timetable to facilitate adequate resting periods for the children. A new diet for the boys playing Billy to cover their high nutritional requirements.
Inevitable Scenarios
- Authors: Hodgson, Tom
- Date: 2006
- Type: Text , Visual art work
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- Description: Performance by Tom Hodgson in 'Inevitable Scenarios', The Studio, Sydney Opera House, Sydney, Australia. 19 - 23 April 2006. 'Inevitable Scenarios' is the major piece of the IN TIME series, created over 3 years by choreographer Sue Healey. The works investigate the passage of time relating to our perception and experience. Research Contribution: A two-part extensive rehearsal period. The first being a four week intensive workshop and improvisation period, the second being refinement and development of the material to a final product performed at The Sydney Opera House. Research of film literature and art works to support the themes investigated in the workshop period. The research has led to further productions and dance films by Sue Healey on the subject. The significance of this research is the development and creation of new dance movement that challenges the audiences's perception of time and order. The work has led to critical acclaim and continuous funding and support for the choreographer to continue her research into the subject and further develop her professional craft.
FOMO : The fear of missing out
- Authors: Ives, Bryce
- Date: 2014
- Type: Text , Visual art work
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Between Somewhere and Nowhere exhibition
- Authors: Orr, Jill
- Date: 2011
- Type: Text , Visual art work
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- Description: Between Somewhere and Nowhere exhibition - Jenny Port Gallery, Melbourne 26th October- 18th November, 2011 The exhibition built upon the artist's long standing investigations into concepts of place, myth and history via the depiction and manipulations of the body. Gender roles and the trauma of Australia's colonial-settler heritage are also alluded to (Yet never explicitly stated) within each of the works, as are links to European/Greek myths and fables.
Still Moving Despite the Tide exhibition
- Authors: Orr, Jill
- Date: 2012
- Type: Text , Visual art work
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- Description: Melaka Visual and Performance Festival Melaka , Malaysia. 21-23 September, 2012. An on-site work that was created in response to the city of Melaka in Malaysia; a place that has been colonised multiple times and yet still retains its essential Malaysian character. This work played upon this character and attempted to express the manner in which multiple religious and spiritual practices exist harmoniously side by side within the postcolonial city.
The Promised land performance
- Authors: Orr, Jill
- Date: 2012
- Type: Text , Visual art work
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- Description: Part of the Peformance as our Duty exhibition, 1st Venice International Peformance Art Week, December 8-15, 2012 As opposed to directly evoking a particular migration story, the work instead sought to investigate the open-ended nature of these readings, via the incorporation of multiple, unstable visual signifiers such a flags, boats, clothing and a series of performative/sculptural gestures that continually foreclosed any possibility of a direct reading of the work. In this manner, the works sought to simultaneously link each of these gestures back to both the history of Australian settlement, as well as to the journeys/travels undertaken in classical myths and legends
Promised land exhibition
- Authors: Orr, Jill
- Date: 2012
- Type: Text , Visual art work
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- Description: Promised Land Exhibition - Jenny Port Gallery, Melbourne, 26th September-20th October 2012. As opposed to directly evoling a particular migration story, the work instead sought to investigate the open-ended nature of these readings, via the incorporation of multiple, unstable visual signifiers such a flags, boats, clothing and a series of performative/sculptural gestures that continually foreclosed any possibility of a direct reading of the work. In this manner, the works sought to simultaneously link each of these gestures back to both the history of Australian settlement, as well as to the journeys/travels undertaken in classical myths and legends.