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.
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.
Gina Williams 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.
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 Tickets/info>>
Danielle Micich’s Overexposed opens on 22 October at the State Theatre Centre of WA, with one story told in two rooms at the same time. The experience doesn’t end in the performance space. We’ve programmed a series of fascinating speakers to deliver a personal story on the themes and issues raised in the production.
The full line-up of post-show provocateurs has now been released, featuring prominent speakers from a diverse range of backgrounds. Speakers include author David Whish-Wilson, refugee advocate Carina Hoang, UWA Director of Innovation David Glance, surveillance and privacy expert Kimberley Heitman, artist Paula Hart, and Barefaced Stories favourites Janette McGinty and Erica Freeman.
Supported by our event partners Vasse Felix and Uber, you can kick back post-show in the lounge (generously provided by Stories on the Wall and Perth Festival) with a complimentary glass of premium Vasse Felix wine and get into some serious discussion of the show you’ve just seen. Uber has you covered with a complimentary ride home for all new app users.
Wed 22 Oct – Paula Hart Visual Artist
Thurs 23 Oct – Carina Hoang Author, refugee advocate
Fri 24 Oct – Kimberley Heitman Lawyer, privacy and surveillance expert
Sat 25 Oct – Jan Resnick Psychotherapist
Tues 28 Oct – Erica Freeman Writer & Barefaced storyteller
Wed 29 Oct – David Glance, UWA Director of Innovation
Thurs 30 Oct – David Whish-Wilson, Author
Fri 31 Oct – Janette McGinty, Performance Artist and Barefaced storyteller
Sat 1 Nov – Carina Hoang Author, refugee advocate
Aimee Smith is a busy lady. Recently returning from working in London, she’s straight into the rehearsal room ahead of the premiere of her latest production Borderline. It’s no small undertaking either – using the Studio Underground at the State Theatre Centre, she is choreographing for eight dancers
TS: Borderline – what’s it all about?
AS: Borderline is a dance work that explores the experience of collective or cultural insanity – that which we might see in the pack mentality of a mob, in the extremes of religious doctrine and mass media, and certainly, but perhaps more subtlety, in our capitalist consumer driven lives.
TS: You’ve got some of Perth’s best up and coming dancers working on this project. How did you go about choosing artists, and how is it working a cast that large?
AS: I knew this work was going to be physically demanding and at times quite a spectacle in its aesthetic so that of course informed the casting for the work. I’m absolutely loving working with such a superstar team and large cast. It’s so energising in the studio and, for this particular work, its also essential to the realisation of the ideas behind it.
TS: I’ve heard that rehearsals have been really fun and a bit of a different process – lots of play and experimentation, maybe even a séance…! What’s been happening in that room?!
AS: Oh that’s top secret! But I’m glad you’ve heard rumours that it’s been fun though because I’ve been concerned with how hard I’ve been working the dancers! We’re trying to create the majority of this work in the space of four weeks so it feels really tight and I’ve been cracking the whip a bit. But yes, we’re trying to find the fun when we can. There is a lot of room for the fantastic in this work…..
TS: Ben Taaffe is on board as your collaborator on this project for the first time. You’ve worked together previously, so how is his role different on this project? Does music play a more significant role than in previous works?
AS: So often in dance I think the design elements of sound and lighting often get left until the end and are used only to serve that dance but Ben and I are both really interested in how the dance and design can grow together and inform each other, to create a really integrated work. Hence, in 2012 during an artist residency in Kyoto we began collaborating together on some ideas that have since grown into this work, Borderline. So yes, we’re collaborating much more closely on this work, though as the work has evolved into a more traditional dance production I guess I’ve taken the reigns a bit more.
TS: What can we expect from the show? What should we look out for?
AS: You should look out for the incredible dancers as well as the gorgeous designs by Trent Suidgeest (lighting), Holly Boyton (costumes) and of course Ben Taaffe (sound). You can expect some darkness mixed with the fantastical.
Performing Lines WA delivers the Managing and Producing Services for theatre and dance artists in WA (Maps for Artists), which is a joint initiative of the Australia Council for the Arts, the Australian Government’s art funding and advisory body, and the State of Western Australia through the Department of Culture and the Arts.