Posted by Thom Smyth, November 12th, 2014
Sensorium Theatre have packed up the beach and travelled down to the Mandurah Performing Arts Centre for a public pilot season of Oddysea.
Previously only available to children in Education Support Centres, we’ve opened the beach for children with special needs and their families and hosted our first early years performances, all with the assistance of Australian Government’s NGCS funding.
We’re trialling a new inclusive performance model that allows parents and siblings of children with disabilities to attend the performance as a family, along with a new method for delivering support materials including the soundtrack and story books.
The early years shows have also been a big hit – Crab and Turtle have met a whole new legion of fans!
We’re further refining both public shows and seeking presentation partners from 2015 and beyond.
Check the image gallery below to see some really lovely images from Jessica Wyld Photography.
Posted by Thom Smyth, November 6th, 2014
We are thrilled to announce that we will be touring The Skeletal System’s Great White by Will O’Mahony to four venues in the South West, accompanied by an extensive community engagement program.
Performing Lines WA were successful in the inaugural Boost funding round for regional touring, a joint initiative of the Department for Culture and the Arts and the Department of Regional Development that will see Royalties for Regions money used to take productions from across all performing art forms to regional areas.
Great White, written and directed by Will O’Mahony and featuring Will, Adriane Daff and Mikala Westall, will tour to Mandurah Performing Arts Centre, Bunbury Regional Entertainment Centre, Arts Margaret River, the Albany Entertainment Centre and Koorliny Arts Centre in October 2015 – keep an eye out for announcements on our Facebook page when tickets go on sale.
We’re also partnering with the venues and Barefaced Stories to deliver an innovative engagement strategy that will allow local communities to tell their stories across different art forms, media and platforms.
Other recipients of the funding are:
Marrugeku Inc, Broome
Marrugeku Inc will tour its latest production of Cut the Sky – Five Songs for the Future to the Peel and Kimberley regions from August 16 to September 14, 2015. Eight performances and workshops will be held in Mandurah, Broome, Mowanjum (Kimberley), and Fitzroy Crossing before the company leaves for Europe to perform in Denmark, Belgium and France.
Cut the Sky explores the impact of climate change from an Indigenous point of view through dance, video art and song.
Contemporary musicians Gina Williams and Guy Ghouse will tour Kalyakoorl, Ngalak Warangka (Forever, we sing) to the South-West, Great Southern and Wheatbelt regions from February 24 to April 20, 2015. The workshop component of the tour is being supported by the Department of Education and will result in one of the language songs, Wanjoo, being taught to primary school children before the tour. A total of 25 performances will take place in 24 regional centres.
Kalyakoorl, Ngalak Warangka is Gina and Guy’s debut album. It was released in April 2014 and is sung almost entirely in Noongar language. Kalyakoorl follows Gina’s personal story of love and loss, reconciliation and hope. The tour is described as contemporary songs and heart stories in Noongar language across Noongar Country.
See the Department of Culture and the Arts’ media release for more info.
Posted by Thom Smyth, November 4th, 2014
Spreading its wings all the way to Hong Kong, Sally Richardson’s Standing Bird 2 is currently appearing at the Hong Kong Fringe Club as part of the Peoples’ Fringe Festival. Solo performer Jacqui Claus has been involved in the project from it’s first season as part of the inaugural Fringe World Festival at Summer Nights at PICA. Thom Smyth caught up with Jacqui just before the team flew out.
So you’re going to Hong Kong…excited?
Very! I’ve never been and I love Asia, the food especially – so yep I’m pretty excited.
For those that missed the first incarnations of the show, can you give a bit of background on the project?
The project started for Sally before I came into the work so for her the process to what is it today is much longer and involved. I began this journey in 2012 for the summer nights fringe festival and then again for the 2013 blue room season. The work is essentially about transformation from a young, somewhat naive girl to a strong powerful spirit of the same woman. It is difficult and uncomfortable at times as is any form of metamorphosis
Are there any changes this time around, any tweaks for a new audience?
This tour makes the third season that I have performed the show and each one has had subtle differences. This version is actually in some ways closer to the first one. With the blue room season we were able to play with certain aspects that we couldn’t in the pervious version and may not be able to this time around also. It’s actually really nice for me to be bringing back so of the original moments.
How do you manage the demands of an intensely physical solo show like this?
Yes this show is insanely physical and most parts of my body hurt by the end of it but this is the part that I can actually manage. I’m lucky that I can push my body to extremes and it responds and recovers. The mental focus that this show requires however is something else entirely and it’s this aspect that I struggle with. A slight shift in what I’m focused on can change an entire section into something that neither Sally nor myself as a performer intended for the work, so for me this is by far harder than the physical.
Dance is an artform that crosses language barriers pretty fluidly. What do you hope Hong Kong audiences will take away from the production?
I guess I hope that they are taken out of their own worlds for an hour and into the journey of the woman. Being a fairly reserved culture I’m not sure how they will respond to the confrontational nature of the first section and this will be interesting as a performer to navigate throughout the season.
Standing Bird 2 | 5 – 8 November
Hong Kong Fringe Club
2 Lower Albert Rd, Central
Images by Gibson Nolte.