We would like to acknowledge the traditional custodians of the lands on which we learn and tell stories, the Bidjigal people.
We pay our respects to Aboriginal and Torres Strait Islander elders past and present who have cared for land, water and story on these lands for generations. We also recognise the work and strength of Aboriginal and Torres Strait Islander artists, workers and creatives within the NIDA Community.
Sovereignty was never ceded.
Always was, always will be Aboriginal land.
Welcome to NIDA’s End of Year Production Season for 2022. We are so happy to see people back at the NIDA campus!
These five fully staged live NIDA productions tell stories of transformation that are mythic, comedic and tragic and always strikingly human. They showcase the talent of students across acting, design, costume, technical theatre and stage management, and props and objects.
We are thrilled to be creating this showcase of work with leading organisations across dance, theatre and opera for a season of ground-breaking collaborations. I would like to personally thank the teams at the Sydney Theatre Company, Force Majeure and the Sydney Conservatorium of Music for their partnership.
These shows are a wonderful opportunity for our guests to see the future leaders of the creative sector in action as they transition into careers across stage, screen, interactive entertainment and beyond.
As always, the staff at NIDA have worked tirelessly with the students to bring these productions to life.
As part of this season we will activate the production component of our recently announced NIDA Green initiative, a plan to reduce our carbon footprint across all we do. The production of Blood Wedding has been selected as our first sustainability case study. We will audit the production’s carbon footprint and explore sustainable materials and options. The goal is to experiment and learn lessons about how to best deliver sustainable NIDA productions in the future. We are excited about this part of NIDA’s vision.
We wouldn’t be able to present this season of performances without the generous support from the Australian Government, as well as our corporate partners, trusts, foundations, supporters and donors. On behalf our NIDA Board, the NIDA Foundation Trust Board, staff and students – thank you.
- Liz Hughes, CEO
Presented by NIDA
BFA Design for Performance
BFA Costume
BFA Properties and Objects
BFA Scenic Construction and Technologies
BFA Technical Theatre and Stage Management
Final year BFA Acting students
Diploma of Stage and Screen Performance
NIDA employs a wide range of industry professionals on both a part-time and casual basis who teach and mentor students across all the courses.
NIDA would like to acknowledge and thank all the mentors and members of staff who have shared their expertise with the 2022 students.
NIDA graduates work in every form of entertainment. That’s why their training needs to exercise many different muscles. This season, our collaborations with Sydney Theatre Company, Force Majeure and the Sydney Conservatorium of Music help us with the flexing.
Our recent Digital Theatre Festival season embraced interactive digital storytelling. In June this year, students worked in live cinema (The Seagull), music theatre (Falsettos) and spoken word drama (Picnic at Hanging Rock and How I Learned to Drive). In this season, opera and dance theatre join the mix.
Why opera and dance theatre? Many NIDA students – stage managers, designers, costume makers, props makers and many others – will regularly work in dance and opera. This season gives them great experience in those forms.
All That Glitters is Not Mould is our second collaboration with STC. NIDA commissioned the four brilliant members of the STC Emerging Writers Group (Monikka Eliah, Michael Louis Kennedy, Kirsty Marillier and Dylan Van Den Berg) to write a new play especially for a group of graduating actors. Two other super talented STC artists join us: Ian Michael (Richard Wherrett Fellow at STC) to direct and Shari Sebbens (STC Resident Director) working as dramaturg. The result? New creative relationships and a razor-sharp new Australian comedy.
The Magic Flute is our second co-production with the Sydney Conservatorium of Music. The singers and orchestra come from the Con, with most of the other roles filled by NIDA students. That rare artist Clemence Williams directs, with conductor Stephen Mould conducing Mozartian magic.
Eugene is our animated co-production with Dance Majeure, one of our leading dance theatre companies. Force Majeure Artistic Director Danielle Micich and the inspiring interdisciplinary artist Eliza Scott team with a range of NIDA students and professional artists to make a virtuosic new Australian work.
Sophie Treadwell’s Machinal is a modern classic: an expressionist-realist text brutal in its attack on the machinery of patriarchy and capitalism. In the visionary hands of Carissa Licciardello (Resident Director at Belvoir), the play takes sure aim.
Blood Wedding gives us pulsing Spanish drama through a vivid new version by Tommy Murphy, one of Australia’s very best writers across stage and screen. Director Dino Dimitriadis gives us a beautiful and bold staging through their signature sense of space and style.
As part of NIDA Connect, our new national learning program for regional communities across six states and territories, Blood Wedding will be streamed free to selected secondary schools. This follows our hugely successful streaming of Picnic at Hanging Rock in June.
Thanks to former NIDA Artistic Associate Tasnim Hossain (now Resident Director at Melbourne Theatre Company), current NIDA Artistic Associate Dalara Williams and NIDA Producer Di Misirdjieff for their invaluable help in bringing the threads together. Enjoy!
- David Berthold - NIDA Artistic Director in Residenceby Monikka Eliah, Michael Louis Kennedy, Kirsty Marillier and Dylan Van Den Berg Directed by Ian Michael
27th, 28th, 29th, 31st, October 7.45pm 29th, 31st October 1.00pm 1st, 2nd November 7.45pm
Running Time: 90 mins, no interval
When Jo Jo Johnson falls to her death while cleaning the windows in Mark Holden’s Zen garden, her story is appropriated by online conspiracy theorists, businesses and the media. What should be an open and shut case of death-by-ladder becomes fodder for speculation that Jo Jo was killed by toxic mould – the same mould that killed Brittany Murphy.
Part inspired by real celebrity conspiracy theories and part pure fantasy, All That Glitters is Not Mould is a dark, satirical comedy that looks at the bleeding of public and private life. In a world where everyone is a brand and everyone has a profile, is anything sacred?
This inspiring collaboration between NIDA and Sydney Theatre Company is directed by STC Richard Wherrett Fellow Ian Michael and written by the STC Emerging Writers Group through a NIDA Commission.
Originally commissioned and first produced at the NIDA Studio by the National Institute of Dramatic Art, Sydney Australia, 27 October -2 November 2022 in association with Sydney Theatre Company Emerging Writers Program.
There is something uniquely thrilling and challenging, often at the same time, in putting a new work on stage. The process is full of many firsts - the first cast to bring these characters to life, the first creatives designing a world to hold the words, the first read around the table and all the excitement it brings around the evolution and possibility of the script as we explore what the work says about us, where we are and could go next, and you’ll be the first audiences that sit in the theatre and witness this all come to life.
All That Glitters Is Not Mould feels even more unique, it is no mean feat for four writers to put their ideas, voices and themselves into telling one story and even more fitting that multiple individuals have created a work that investigates the sharing of information, grief, conspiracy theory, exploitation and celebrity culture, and the impact it has on us as individuals and collectively.
It’s even the first week of rehearsals and the days are full of unpacking the script, conversations around the characters, laughter, discussion and reflection of events and news in the world both happening to us right now and from our not so distant pasts. As I write this I can’t help but wonder what might and could happen in the world before we open and what impression those events leave on us or don’t and the interpretations that we choose to take upon and for ourselves or what we might even choose to look away from.
It is an absolute privilege to be in a room with these artists whose work you will see on and behind the stage, their dedication to the process, tenacity, skill and talents is boundless. Thank you for your trust, collaboration and care for the work and one another, I can not wait to see what you all do next.
A big thank you and congratulations to our writers Monikka Eliah, Michael Louis Kennedy, Kirsty Marillier and Dylan Van Den Berg. To Shari Sebbens, Paige Rattray, Polly Rowe and everyone at Sydney Theatre Company and NIDA, I am deeply grateful for your guidance, time and support.
- Ian Michael
in order of appearance
Louisa/Mourner 3/Doctor/Hilary Jessica Bentley
Val/Speaker 1/Nurse Olivia Inwood
Jo Jo/Lana/Kerri-Anne/Susie Jessica Parris
Saint Brittany/Betty/ Janet Anderson Mourner 2/Speaker 2/Reg/ Production Assist.
Jamilla Iolanthe Jason Ethan Bourke
Lenny/Mourner 1/Troy/Ralph Harry Stacey
Understudies Luke Hill-Smith Sophie Smith
Ian Michael*
Dramaturg Shari Sebbens* Set/Props/Costume Keerthi Subramanyam* Designer
Lighting Designer Jordan Jeckells
Sound Designers/Composers Zoe Davis Brendon Boney*
Voice Coach Laura Farrell*
Movement Coach Troy Honeysett*
Production Stage Manager Scott Cleggett
Deputy Stage Manager Madeleine Picard Assistant Stage Manager Sam Scott Construction Manager Angus Nott Costume Supervisor Lily Mateljan Props Supervisor Madison Williams Head Electrician Grace Sackman Set Design Assistant Andrea Knesevic Costume Design Assistant Max Shanahan Costume Assistant Danielle Schache Props Assistant Georgia Raczkowski
Microphone Technician/Mechanist Abby Dinger Flys/Mechanist Carol Gonzales
Technical Assistants
Ethan Coombes
Arwen Davidson Naomi O’Connor Sherydan Simpson
Julianna Stankiewicz
(STC),
Ware (STC), Richard Whitehouse (Belvoir), Lisa Mimmocchi
Executed by right-wing military authorities in 1936, Federico García Lorca left a towering legacy. He was a great explicator of duende, the idea that an artwork should brim with authenticity and death-awareness and awe and soul. This is true of his canon of poetry and his remarkable tragedies for the stage: Blood Wedding, Yerma and The House of Bernarda Alba.
Opposed to injustice and aware of a society growing more radicalised, Lorca longed for escape and to revel in the natural world of rural Spain that is captured so vividly in his writing. He was also a queer man, attempting to live a life of passion and freedom in a country shrouded with social code and expectation. Blood Wedding, like all of Lorca’s great tragedies for the stage, wrestles with both history and the human animal. What happens when our desires collide with the rules we are taught and the duties that seem to be rusted on from generations before? Is there a way out?
Tommy Murphy, in this stunning new version of Blood Wedding, captures the texture of Lorca’s creation while infusing the work with a contemporary voice. It is rich with theatrical imagery, relishes in the magic of ensemble performance, and sends us to a place that feels both familiar and strange. It’s been a particular joy to invite Tommy into the rehearsal room.
I extend my thanks to all at NIDA who have worked tirelessly to support this production. It has been an absolute pleasure and honour to work with the students. They have dedicated themselves wholeheartedly to the process, and have worked with care, generosity and remarkable talent. They have committed to developing their craft while also defining the care-centred culture and practices that they will carry forward into the industry. The future is in safe hands.
- Dino Dimitriadis
It is my absolute honour to be working again at the drama school I knew and loved as a student. This version of Blood Wedding was commissioned for a production by director Laurie Samson at Royal & Derngate UK for the 2012 London Olympiad. I was proud of that show and it sparked my ambition to one day hear the script in an Australian accent. That opportunity has now come via this talented, dedicated cast and production team. I was thrilled to be invited into their rehearsal room by director Dino Dimitriadis to workshop some of the scenes. So, it is that updated version you’ll see on stage. Thank you to all involved.
- Tommy Murphy
CAST in order of appearance
The Mother
Evelina Singh
The Groom James Casperz-Loney
The Maid/The Neighbour Clare Hughes
Leonardo’s Mother in Law Isobel Ferguson
Wife of Leonardo Helena Cielak
Leonardo Arun Clarke
Little Girl/Death Georgia O’Brien
Father of the Bride Jackson Jones
The Bride Grace Stamnas
The Moon/A Cousin Fabio Jaconelli
Understudies Arvin Bhattacharya
Alyssa Peters
Director Dino Dimitriadis* Set/Props/Costume Soham Apte* Designer
Lighting Designer Ryan McDonald* Composer Mary Rapp
Sound Designer/Composer Jessie McGuigan
Video Designer/Systems Keelan Ellis
Voice Coach Laura Farrell* Intimacy coordinator Shondelle Pratt*
Production Stage Manager Eleanor Weller-Brown
Deputy Stage Manager Isobel Morrissey Assistant Stage Manager Adetokunbo Abioye Construction Manager Nicholas Day** Costume Supervisor Oliver Hall Props Supervisor Jules Bisschoff Head Electrician Cameron Russell Props Maker Ally Vyner
Design Assistant Angelina Daniel Design Assistant Geita Goarin Costume Assistant Emily Christie Costume Assistant Giulia Zanardo
Props Assistant Alexander Mills Technical Assistants Ethan Coombes
Arwen Davidson Abby Dinger Carol Gonzales Naomi O’Connor Sherydan Simson Julianna Stankiewicz
Directed by Carissa Licciardello NIDA Theatres, Playhouse
27th, 28th, 29th, 31st October, 7.15pm 1st, 3rd November, 1.00pm 1st, 2nd, November, 7.15pm
Running Time: 100 mins, no interval
“Your skin oughtn’t to curl—ought it when he just comes near you—ought it?”
Sophie Treadwell’s vivid expressionist masterpiece, inspired by a true story, is a treasure of the American theatre that offers a riveting look at the danger that can come from a life unlived. Against the machine, a young woman is restless, is silenced, then revolts.
Carissa Licciardello (Opening Night) creates an adrenaline-charged portrait of a young woman, constrained by a society that favours men and money, who goes to surprising lengths to find agency in her life.
This first spark for this production came from the idea of the nightmare.
Or more specifically, the workings, or machinery, of the nightmare - where you suddenly become conscious inside a world that is familiar but strange; in a situation you have had no control over; and where no-one around you seems to understand your horror.
Our Young Woman is trapped inside such a nightmare – or series of nightmares, one giving way to the next – the nightmare of waking up and finding yourself already on your honeymoon with a man you didn’t really want to marry – of waking up and finding that you’ve been pregnant, and have just given birth to a baby you never wanted.
In Treadwell’s play these nightmare scenarios are those created by dominant culture - patriarchal, capitalist, white supremacist – a system that was not built for this Young Woman and that she cannot sit comfortably inside – a system of control, horror and isolation. It’s a culture Sophie Treadwell drew with clear insight in 1920s America; in Australia, almost a hundred years later, the form of the nightmares may have changed but the dominant cultural forces are the same.
What we found fascinating about Treadwell’s work is not only her razor-sharp vision of how these forces brutalise the individual, but her suggestion that this system can be resisted by a woman re-connecting to her desire – in our production, a moment where our Young Woman finds the will to resist and step outside of this machinery; and briefly the nightmare gives way to a softer, more familiar world – the world of the dream?
But in Treadwell’s text, this resistance is brief; dominant culture is so entrenched that when the nightmare returns, it is in its most extreme and punishing evocation.
In the room we’ve been grappling with what it is to stage this work now with this team of creatives and this cast; and what kind of stories we want to tell about oppression and resistance inside dominant culture - and we’re excited to share this production with you.
- Carissa Licciardello
in order of appearance
Telephone Girl/ Hattie CleggWoman’s Voice/ Robinson Wife’s Voice/ Nurse/Second Reporter/Matron
Stenographer/Mother/ Tamara Foglia Nurse 2/Woman1/ Castañeda Woman 3/Woman 2/ First Reporter
Filing Clerk/Man’s Voice/ Louis Henbest Doctor/Second Man/Man/ Lawyer for Defence/ Priest
Clerk/Janitor/ Harlee Timms Small Boy’s Voice/ Bellboy/ Young Doctor/First Man/ Lawyer for Prosecution/Jailer
Mr Jones/Husband’s Voice/ Christopher Man 1/Man 3/Man 2/ Northall Judge/Barber
Young Woman Ahunim Abebe
Understudies
Camille Gerrard Casey Stevenson
Director
Carissa Licciardello* Set and Costume Designer Angela Doherty *
Lighting Designer Véronique Benett * Sound Designer Amy Norton Voice Coach Raechyl French* Intimacy coordinator Shondelle Pratt*
Production Stage Manager Bella Thompson Deputy Stage Manager Daniel Story Assistant Stage Managers Topaz Marlay-Cole Jemima Owen
Construction Manager Lynsey Brown** Costume Supervisor Esther Zhong Props Supervisor Luca Kovacs Head Electrician Maddison Craven Set Construction Assist/Flys Nathan Lockyer Design Assistant Edison Heartly Costume Assistant Sam Hernández
Dresser Geita Goarin Props Assistant Freyja Meany Mechanist/Stage Crew Jules Stankiewicz Grace McCann Alexander Mills
Microphone Technician Sherydan Simson
Conducted by Stephen Mould Directed by Clemence Williams
NIDA Theatres, Parade 21st, 25th October, 7.00pm Mozart’s final opera transports us to a fantastical world of serpents, princesses, trials and mysteries. Good and evil battle, and truth and resolution are elusive. We invite you to experience a world that feels like 1984 meets Alice in Wonderland meets The Wizard of Oz. Tamino, a prince, has lost his way. He journeys down a deep rabbit hole in search of his true love, Pamina, imprisoned in the Temple of The Sun. Together they navigate the trials imposed by the mysterious Sarastro and the trickery of The Queen of the Night and her cronies. A fairy tale for the ages. Conducted by Stephen Mould and directed by Clemence Williams, this production teams Sydney Conservatorium of Music performers with NIDA technical theatre and stage management, costume, props, and scenic construction students to take you on a journey into a dream world where we hope we may find fulfillment.
23rd, 29th October, 2.00pm 27th, October, 11.00am Running Time: 2 hrs 35 mins including 20 min interval
I am extremely delighted and excited to introduce our second major operatic production with NIDA. It is amazing how our two schools can find artistic synergies through the production of Mozart’s The Magic Flute. Despite being several hundreds of years old, the story and music captivate our imagination and the issues dealt with are rather edgy and reflect our experiences in the 21st Century.
This collaboration enables our combined faculty to encourage our students to be daring, creative and innovative. Thank you NIDA for once again letting us join with you on this great adventure.
- Professor Anna Reid, Dean, Sydney Conservatorium of Music.
The Sydney Conservatorium of Music acknowledges the generous support of the Alan Hyland and John Luscombe Endowment
Composed during 1791, and premiered in Vienna, 30th September 1791 This work, published by Barenreiter/ Alkor Kassel, has been supplied by Clear Music Australia Pty Ltd as exclusive hire agents for Barenreiter in Australia.
Mozart’s Die Zauberflöte has, since its premiere, been endlessly reimagined and reinvented, its complex and rich amalgam of different worlds and cultures providing endless inspiration for creative teams, who recreate the themes of the opera within the spirit of their own times. The constant element in this journey is Mozart - even if we find some aspects of the original story a little improbable, there is a fundamental truth which the music expresses, leading us confidently through the trials and tribulations of the story.
This production of The Magic Flute follows our hero, Tamino, as he embarks on an “Orpheus in the Underworld” style journey towards his love and ultimately to freedom.
We begin in the ‘real’ world: a bleached, monotone, capitalist dystopia. Tamino, our protagonist goes about his never-ending routine: waking up, getting dressed, punching in, punching out and ||:repeat:||. A spark of courage inspired by a colleague he secretly admires draws him deep into a dream world full of familiar faces overrun by magic and a plot to overthrow the status quo. Clinging to distorted icebergs of reality, he must journey deeper and deeper into the unknown to ultimately save his love, restore peace to the dreamscape and by doing so, reclaim his soul on earth.
We invite the audience to fall down the rabbit hole with us, to laugh with us and to dream with us.
One of the most beautiful, and frankly underrated parts about this opera, is that there are so many wonderful moments of friendship on display. It is very much a piece brimming with collegiality, humanity, kindness and generosity. It’s no wonder that this warmth has spread through the rehearsal process. The making of this show has been filled with playfulness, laughter and smiles. We hope to share that joy with you today.
Mozart’s music and Schikaneder’s quirky text work together to create this magical experience, one that audiences never tire of.
- Clemence Williams, Director
- Dr Stephen Mould, Conductor, Sydney Conservatorium of Music, The University of Sydney
Angus Ledgerwood
Claire BurrellMcDonald Alexander Young Andrew Knight Aidan O’Donnell Alexander Caldwell
Anastasia Gall
Omid Zadeh
Robert Adam Natasha Gesto Olivia Swain
Micahel Burden Michael Kaufmann
Olivia Payne
Jianbo Sun Lana Kains Elise Morton Jeremy Boulton
Daniel Ott Eden Shifroni
Janine Harris
Yuan Gao Sophie Mohler Younji Yi
Conductor (SCM) Stephen Mould**
Conductor (SCM) Omid Moheb Zadeh
Director Clemence Williams*
Producer/Artistic Planning Manager Scott Ryan
Set Designer Nick Fry*
Costume Designer Rita Naidu*
Lighting Designer (NIDA BFA) Ethan Hamill
Dramaturg/Adapter Thomas De Angelis*
Chorus Director Elizabeth Scott
Assistant Director (NIDA MFA) Emma Whitehead
Assistant Conductor (SCM) Simon Lobelson
Principal Répétiteur (SCM) Alan Hicks**
Répétiteur (SCM) Ingrid Sakurovs**
German Coach (SCM) Anke Höppner-Ryan**
Stage Production Coordinator Thomas Wade
Tamino
Alexander Young
1st Lady Olivia Swain 2nd Lady Elise Morton 3rd Lady Janine Harris Papageno Jeremy Boulton Queen of the Night Lana Kains Monostatos Robert Adam Pamina Claire Burrell-McDonald Spirit 1 Anastasia Gall Spirit 1 Younji Yi Spirit 2 Natasha Gesto Spirit 2 Eden Shifroni Spirit 3 Sophie Mohler Spirit 3 Michael Burden
Speaker Andrew Taylor Knight Sarastro Yuan Gao 1st Priest Daniel Ott 2nd Priest Michael Kaufmann
1st Armed Man Alexander Caldwell 2nd Armed Man Aidan O’Donnell Papagena Olivia Payne
Madison Dring Sara Huang Emily Knapman Samantha Ko Mairead McCaughan April Mills Grace Pfab Sophie Rogut Alto
Hazel Bingon Tara Burnes Rosslyn Cuerden Isobel Cumpston Olivia Parker Talei Smith Jasmine Yang Tenor Thomas Bruce Denzel Bruhn Michael Kaufmann Jonas Steller Jianbo Sun Christopher Whalley Bass
James Boyd-Hoare Carter Jia Angus Ledgerwood Thompson Lee Dominic Lukin Daniel Ott Jackson Tuynman Tahi White
Violin 1
Nanda Hong Daniella Lee Darren Li Agustin Pardo Anna Sonstad William Yan
Violin 2
Selwood Hardaker James Krockenberger George Hond James Parbery Viola
Jonathan Bruhl Lucy Dubé Alison Eom Cello
Joanne Hwang Garrick Tang Double Bass Julia Magri Alexandra Thompson Flute Elizabeth Fong Brianna Walkden-Brown Oboe
Gudrun Drake
Gahyun Lee Clarinet Tina Ma Austin O’Toole Bassoon
Joshua Reynolds
Dylan Roberts Horn
Rory McClelland
Chris Peters Trumpet Jude MacArthur Lena Morris Trombone
Zachary Bonham Molly James Harrison Snell
Percussion
Buddy Lovett Celeste Jamie-Lee Xu
Technical Manager
Pip Morey
Production Manager Alexis Worthing
Stage Manager Chris Milburn-Clark
Assistant Stage Manager Claire Edmonds-Wilson
Construction Manager Joshua Abbot
Costume Supervisors Tamsyn Balogh Caristo Lucy Francis
Props Supervisor & Maker Ally Vyner
Head Electrician Joel Montgomery Costume Makers Jasmin Gray Natalie De Palo Maverick Durkin Michiru Encinas Nina Price Delan Woods
Props Maker Jules Bisschoff
Set Design Assistant Elle Fitzgerald
Sets Assistant Gareth Sole Costume Design Assistant Paris Koppens
Costume Assistants Kit Moore Jaspa Frankish
Props Assistant Caleb Jackson Samantha Lim
Technical Assistants
Ethan Coombes
Arwen Davidson
Abby Dinger Carol Gonzales
Naomi O’Connor
Sherydan Simson Julianna Stankiewicz
Senior Lecturer Voice Anke Ryan /Stage Craft
Program Leader SCM Narelle Yeo Music Theatre Senior Lecturer Voice Barry Ryan OAM Senior Lecturer Voice Rowena Cowley Vocal Teachers Donna Balson Andrew Goodwin David Greco Russell Harcourt Simon Lobelson Maree Ryan AM Robin Wells
Acting Coach Felicity Jurd
Dance Teacher Lorena Otes Opera Coaches
Siro Battaglin Alan Hicks
Estella Roche Ingrid Sakurovs
Eugene is a newly devised solo movement theatre work from Force Majeure and NIDA. I am drawn to working with generous artists who are willing to explore their lived experience and un-pack their personal history. This process of investigation is confronting and challenging. It allows you to gain access to the heart of a subject which makes for powerful storytelling. What has kept our curiosity alive during this process is the desire to maintain the sense of authentic self while telling a fictional story.
The work has been influenced by pop culture, meme culture and Drag culture. Collaborating with Video Designer Xanthe Dobbie to create our changing realities with such vibrant imagery brought new energy to the process. The designs were made in real-time and recreated for the stage.
It is rewarding to work alongside the NIDA production students to devise a new contemporary work. It has been a great exchange of artistic knowledge and encouraging to see who will be making within the industry soon. It has been a real joy to work with these students.
- Danielle Micich – Force Majeure Artistic Director & CEO
The process for creating Eugene has been filled with great rigour, learning and most importantly, trust.
Though there is only one performer on the stage, there have been many hands, brains and hearts all building this work, and it would not be possible without everyone in the team. We wanted to create an intimate piece, one that pulls the audience in all directions, and for them to walk away having new, funny and unlikely conversations around gender, identity and how we present ourselves in the world.
I want to thank Danielle, Force Majeure and NIDA for creating a safe space that allows deep exploration, fearlessness and collaboration to give this seed of an idea life.
- Eliza Scott – Force Majeure
Performer
Eliza Scott**
Director/Co-Creator Danielle Micich** Co-Creator/Original Concept Eliza Scott** & Text/Co Composer
Contributing Devisor/Dramaturg Adriane Daff**
Designer Jessi Seymour Video Designer Xanthe Dobbie** Lighting Designer/ McLane Catterall Video Systems Supervisor
Sound Designer/Co-Composer/ Jessica Pizzinga Systems Supervisor
Producer (FM) Charlotte Barrett**
Production Stage Manager Timothy McNaught Deputy Stage Manager Jordan Magnus-McCarthy Assistant Stage Manager Yasmin Breeze
Construction Manager Nick Day* Video System Technician India Lively Head Electrician Bernadett Lőrincz
Technical Assistants Ethan Coombes Arwen Davidson
Abby Dinger Carol Gonzales Naomi O’Connor
Sherydan Simson Julianna Stankiewicz
Tamara Foglia Castaneda
Louis Delaunay Henbest
Olivia Inwood Hattie Clegg-Robinson
Jessica Bentley
Clare Hughes
Jackson Jones
Arun Clarke
Isobel Ferguson
Ethan Bourke
Georgia O’Brien
Chris Northall
Evelina Singh Jessica Parris
Ahunim Abebe
Grace Eirini Stamnas Harlee Timms
Janet Anderson Helena Cielak
Fabio Jaconelli
Iolanthe
James Caspersz-Loney
Bachelor of Fine Arts (Acting)
Harry Stacey
Bachelor of Fine Arts (Costume)
Esther Zhong
Lucy Francis Tamsyn Balogh-Caristo
Oliver Hall Lily Mateljan
Jasmin Gray
Bachelor of Fine Arts (Design for Performance)
Lachlan Odgers
Ruby Jenkins Meg Anderson
Jade McElroy
Benedict JaneczkoTaylor
Kathleen Kershaw Hailley Hunt
Jules Bisschoff
Tallulah Baran Connor McCool Luca Kovacs Madison Williams Ally Vyner
Bachelor of Fine Arts (Properties and Objects)
Bachelor of Fine Arts (Technical Theatre and Stage Management)
Eleanor Weller-Brown
Jodi Rabinowitz
Jordan Jeckells Ethan Hamill Zoe Davis
Tim McNaught Alexis Worthing
Scott Cleggett
Jessie McGuigan McLane Catterall
Jessica Pizzinga
Chloe Langdon
Pip Morey Bella Thompson
Joshua Abbott Angus Nott
Bachelor of Fine Arts (Scenic Construction and Technologies)
