WA Decides – Top Picks of 2014

Posted by admin, December 11th, 2014

Here are the results of our annual wrap-up of what people around town thought was amazing, exciting and generally a winner in 2014. As is tradition, we’ve also asked for a company or artist to look out for in 2015.

We had a diverse range of responses from across the sector, with Chunky Move’s Keep Everything, choreographed by Antony Hamilton and toured by Performing Lines for Mobile States, the most talked about show of 2014. Eight Gigabytes of Hardcore Pornography, written by Declan Greene and produced by Perth Theatre Company and Griffin Theatre Company came in a close second,  with Proximity Festival and Punchdrunk’s The House Where Winter Lives very honourable mentions as well.

Who to look out for in 2015? The Cutting Room Floor are getting some serious attention following their breakout hit F*@k Decaf, and Will O’Mahony, The Last Great Hunt and Joe Lui are again on the radar.

Thanks for everyone who gave us their picks. What were your favourites of 2014?

Anna Kosky | Perth Festival

The House Where Winter LivesPunchdrunk
Proximity Festival
King HitYirra Yaakin Theatre Company

Watch out for: Adam Booth – amazing versatile actor who surprises every time.


Jeffrey Jay Fowler | Black Swan Theatre Company & The Last Great Hunt

Eight Gigabytes of Hardcore PornographyPerth Theatre Company & Griffin Theatre Company
Blue Smoke Tour – Dolly Parton
Barefaced Stories – No specific edition, just their entire presence

Watch out for: The Cutting Room Floor – They’re activating spaces in new ways and giving new writers a chance to see their work on stage.


Ryan Taaffe | Koorliny Arts Centre & CircuitWest Executive Officer

Jasper JonesBarking Gecko Theatre Company
Great WhiteThe Skeletal System
FarmSpare Parts Puppet Theatre

Watch out for: The Last Great Hunt – the combination of creatives means that there should be some more wonderful pieces coming from that stable.


Danielle Micich | Performing Lines WA Core Artist

Giving Up the Ghosts – Owl Productions
Keep Everything – Chunky Move & Performing Lines
Eight Gigabytes Of Hardcore PornographyPerth Theatre Company & Griffin Theatre Company

Watch out for: Will O’Mahony


Tim Carter | Perth Institute of Contemporary Arts

Keep EverythingChunky MovePerforming Lines
Perth Theatre Company‘s entire year – everything was brilliant, though I did particularly enjoy the enigma of White Rabbit, Red Rabbit
PrecipiceRachel Arianne Ogle

To watch: Bianca Martin with her new work From Afar on a Hill, which was developed at PICA earlier this year. I’m excited to see how Bianca will provoke audiences through a series of interactive propositions to earn their way into the theatre, whilst examining the hot topic of immigration policy in Australia.


Paul Selwyn Norton | Strut Dance
Decadance – Batsheva Dance Company
Keep Everything – Chunky Move & Performing Lines
Onefivezeroseven – Barking Gecko Theatre Company

Watch out for: Antony Hamilton a bold, fearless Artist who will be working with STRUT in 2015 on Fringe World Co_Pro Mi Casa es Su Casa


Stephen Bevis | The West Australian

Eight Gigabytes of Hardcore PornographyPerth Theatre Company & Griffin Theatre Company
Decadance – Batsheva Dance Company
Situation RoomsRimini Protokoll

Watch out for: The Cutting Room Floor – led by Artistic Directors Scott Corbett and Zoe Hollyoak, this independent theatre collective created the fantastic pop-up café comedy F*@k Decaf earlier this year and will dive into 2015 with some promising work at Fringe World.

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Henry Boston | Chamber of Arts and Culture WA

Keep Everything – Chunky Move & Performing Lines
Wish Perth Theatre Company & Night Train Productions
PUBLIC: Art in the CityFORM

Watch out for: I’m really looking forward to Tim Solly’s one man show at Fringe World The Dirty Cowboy (directed by Sally Richardson). Could be a winner…


Georgia Malone | Perth Theatre Company

Eight Gigabytes of Hardcore PornographyPerth Theatre Company & Griffin Theatre Company
F*ck DecafThe Cutting Room Floor
2 One AnotherSydney Dance Company

Watch out for: Perth Theatre Company OF COURSE!! But other than us, The Cutting Room Floor.


Nerida Dickinson | RealTime & ArtsHub

Proximity Festival
Hipbone Sticking OutBig hArt
What I See When I Look At SoundPerth Institute of Contemporary Art
Honourable mention: Uncle Jack – Ross Lonnie

Watch out for: Emma Fishwick


Sally Richardson | Performing Lines WA Core Artist

Eight Gigabytes of Hardcore Pornography Perth Theatre Company & Griffin Theatre Company
Fringe World (loads including Second Coming – Briefs)
King HitYirra Yaakin Theatre Company (and yep, I work for the company)

Watch out for: There are sooo many. The Young Guns – a tie between: The Last Great Hunt, Will O’Mahony/The Skeletal System, and Joe Lui/Renegade Productions; and Danielle Micich/Night Train Productions.


CHUNKY-MOVE-Keep-Everything_341-580x386Michael Barlow | Spare Parts Puppet Theatre

Hipbone Sticking OutBig hArt
Entanglement – Jacob Lehrer & David Corbet
Keep Everything – Chunky Move & Performing Lines

Watch out for: Joe Lui and Unkempt Dance


Mary Wolfla | Buzz Dance Theatre

The House Where Winter LivesPunchdrunk 
Proximity Festival
Keep EverythingChunky Move & Performing Lines

Watch out for: Tarryn Runkel – she’s doing really interesting cross artform work around immigration, and I can’t wait to see what she does next.




Great White to tour South West in 2015!

Posted by admin, 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.

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.

See the Department of Culture and the Arts’ media release for more info.

Antony_Hamilton 20120420

Interview with Antony Hamilton | Chunky Move

Posted by admin, July 22nd, 2014

World-renowned Australian choreographer Antony Hamilton’s work defies easy description. His company Antony Hamilton Projects brings together artists from across art forms, creating dance work that seamlessly integrates technology, visual arts and innovative design. He is currently on the road with Keep Everything, a work commissioned by Chunky Move tracing the path of human evolution from ape to robot and back again. It’s a collection of elements of previous works, creating meaning out of seemingly disparate elements. Performing Lines WA’s Thom Smyth (TS) got the lowdown from Antony (AH) ahead of their performance season at PICA from 23 – 26 July.

Keep Everything production shot

TS: How do you describe the kind of work you create?
AH: That’s hard to say, as the work tends to describe itself in ways that language cannot manage. Meaning lies in things that can sometimes not be spoken or written, however if one were pressed, I would say that the work I create is an ongoing stream of ideas, where the last work, and events in between that work and the next, inform a kind of chaotic progression of curiosities.

TS: Keep Everything has been described as a “scrapbook for the stage”. What can we expect when the lights go down at PICA?
AH: One can expect the unexpected I would say.

TS: How did you go about putting the show together? Did you find any broader themes or ideas emerging from piecing together fragments of other works?
AH: Yes, well despite my best intentions, a very humanist sort of organisation of the ideas started to happen. I found myself trying to make sense out of, and create meaning from items that by their very nature are in fact fairly meaningless. So the process started to reveal to me my own very human fixation on creating order out of chaos.

TS: How do you edit and tighten a show that seeks to ‘keep everything’?
AH: In the very same way that we edit and tighten our lives. In real life we are living in a kind of devised, fictional narrative of belief, and the same is neccessary for any creative work- you have to devise a fictional narrative that has an instinctive truth of some sort about it. Keep Everything is not in fact as fragmented as it sounds, but in a way has smoothly blended many ideas into an arc that explores meta-narratives of progress, history, myth and the utopia/dystopia dichotomy. Rehearsals are much like any other, being led by a kind of instinct towards a resolve.

TS: You worked closely with Kim Moyes and Julian Hamilton on the soundtrack. What are they like to work with? Is contemporary dance a particular interest of theirs, or was this a one-off collaboration?
AH: Well Julian’s my brother, so that places him pretty close to the dance world, having grown up together, him picking me up after ballet classes and all! Also, together Julian and Kim make dance music anyway, so it wasn’t such a difficult transfer to make. That being said, the music for the work is quite a different territory for them. Fairly atmospheric and less beat driven for the most part. It was a really great collaboration. Quite easy really because we know each other so well, and understand each other’s influences, interests and so on.

Keep Everything production image
TS: You were over here in Perth recently leading workshops for Strut Dance. How do local WA dancers compare to other dancers you work with?

AH: Yes, I was. The dancers themselves were great to work with. With my current interests, it’s not really about how good you are at something, even dancing! I’m not as interested in virtuosity as I used to be, but more interested in the performers true colours, in quite exposed situations. While the dancers were all great, I was more interested in exploring flaws and failures, and what it might mean to situate those in a performance context.

TS: Ideas of evolution feature strongly (and quite literally) in Keep Everything, and also in your work more broadly. Do you ever want to sit in a certain style and really hone that, or do you see your choreographic practice as more of an inquisitive and evolving thing?
AH: Yeah, I find themes repeating across my works, and I do like to try and explore something quite different every time. So in a way it’s often quite a surprise to reflect back on works and notice the strong similarities. The thing I think is most useful to develop in new directions, is to think more about the differences you can make to the audience situation. Otherwise, if you always work in the convention of the black box theatre with a show that has a set duration, you’ve already restricted yourself to a great limitation. Basically, a beginning, middle and end as defined by you. So open ended audience engagement is something that interests me for the future. So yes, evolving through inquisitiveness is right.

TS: What’s your next big project? What are you looking forward to?
AH: My next big project is touring my work Black Project 1 to Taipei Arts Festival in August, and I’m very much looking forward to it!

Mobile States and PICA present Chunky Move’s Keep Everything
23 – 26 July | 7:30pm | PICA Performance Space
Join Antony and Strut Dance’s Paul Selwyn Norton for a post-show Q&A Fri 25 July
Click here for tickets


Toured nationally by Performing Lines

Brisbane Powerhouse 30 July – 2 August, 2014
Salamanca Arts Centre, Hobart 6 – 9 August, 2014
Performance Space, Sydney 13 – 17 August, 2014
Arts House, Melbourne20 – 24 August, 2014

KEEP EVERYTHING – Trailer from Chunky Move on Vimeo.

main shot

Join The Team – Internship Opportunity

Posted by admin, June 3rd, 2014

We are on the look out for a motivated Marketing, Public Relations or Arts Management intern to join our team on the exciting new dance-theatre event Overexposed, premiering at the State Theatre Centre of Western Australia in October 2014.

Experience working on a campaign for a premium performance at a major venue, including campaign planning, organisation and delivery; dealing with media/venue/ticketing enquiries;  and working with some of Australia’s most experienced independent artists for a national producing and touring company.

Click here to download the Internship Job Description>>

Please send a one page Expression of Interest and your CV to Thom Smyth, Marketing Manager, by 4pm Thursday 12 June.

Submit your application or any inquiries to thom@performinglineswa.org.au or call 08 9200 6212

Tristan Meecham & Aphids  GAME SHOW at the Meat Marketas part of

Festival wrap-up: FOLA

Posted by admin, March 27th, 2014

What is ‘live art’? It’s a contentious term that has been applied to works from a broad swathe of cross art form contemporary practice. So it’s a daunting task to attempt to answer that question, and even more so to curate a Festival of Live Art. Arts House, Theatre Works and Footscray Community Arts Centre took on the challenge, with a massive three-week program from across the world. The question wasn’t answered for us, but we (Thom and Fiona) found it was well worth trying.

We hit FOLA – Melbourne’s inaugural Festival of Live Art – in week two, when it had taken over the whole of Arts House, converting the North Melbourne Town Hall and the nearby Meat Market into a playground of live performance. James Berlyn was suited up and manning Tawdry’s typewriters, ready for the secrets Melbourne had to offer, having already hosted the Silent Drag Booth of Berlyn earlier in the week.fola5

The works we saw:

Sam Halmarack (UK) | Sam Halmarack & The Miserablites

An adorable take on audience participation, ably facilitated by our stranded band frontman and a suitably daggy “instructional” video work. Took the audience on the journey.


Tristan Meecham | Game Show

Putting his life’s possessions on the line for the live “studio audience”, Tristan Meecham as our host led selected contestants through several gruelling challenges to find the ultimate winner. Large scale and ambitious.


triage live art collective & Nicola Gunn | Live Art Escort Service

Fiona procured the assistance of Nicola Gunn to ponder the big artistic question of the festival – What is live art? – while being led outside and down surrounding dark laneways. Peering in on the lives of others through open windows, definitions of live art melted away into shared experience.


Sam Routledge & Martyn Coutts | I Think I Can

This Perth Festival favourite called the North Melbourne Town Hall home for the week, laying down the model railway for locals to bring the miniature world to life. Fiona’s Giant Man arrived in town as a political appointment as Acting Police Inspector, only to spring into action to save a Giant Woman being threatened by a vampire on the hotel roof…


Julie Vulcan | Drift

Entering a contemplative space of twinkling lights and tentative refuge, we were greeted with an inflatable flotilla of “vessels” where you could curl up against the ravages of the outside world. Travellers remained for such a long time we both missed out on the trip.


Malcolm Whittaker | Ignoramus Anonymous

An interactive support group for the ignorant. Is there something you are too ashamed to admit that you don’t know? The sort of thing everyone would scoff at? Ignoramus Anonymous is here to help. Thom’s group were both forthcoming with their knowledge gaps and with their answers, Fiona’s group…not so much.


Paul Gazzola | Gold Coin Series

Three works spread across the Town Hall and Meat Market spaces, Paul Gazzola encouraged us to questions our notions of value, worth, and what you truly think a dollar is worth.


Ranters Theatre | I Know That I Am Not Dead (created by Beth Buchanan)

Fiona was the first audience member to enter Beth’s tent on a first floor balcony at Arts House and spend 20 minutes discussing sleep and not sleeping – one on one. The blankets were cosy, the thermos was full of hot peppermint tea, the conversation convivial.


Emma Beech | Life is Short and Long

A work in development, this facilitated conversation about what we know, how we feel, and how we were affected by the Global Financial Crisis morphed into a conversation about coping with crisis more broadly. Fascinating conversation, and Thom got into the snacks.


Mish Grigor | Man O Man

Part performance, part town hall meeting, post’s Mish Grigor joined forces with a team of local female writers to script letters to be read on the final night of the Patriarchy. On hearing the beautifully and hilariously crafted arguments for and against, participants were invited to vote on whether the male tyranny should prevail. The performance also included lamingtons. Lots of them.


Live Art Dance Party

Curated by Arts House, this was a hit and miss celebration of different works, crossing art forms, boundaries and taste levels. Sisters Grimm and The Town Bikes were highlights.


Sarah Rodigari | A Filibuster of Dreams

While many were sleeping off the effects of a Saturday night, Sarah Rodigari was delivering a mammoth ten hour durational performance reciting well-wishes submitted by audience members to their fellow Melbournites.

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Amy Spiers & Catherine Ryan | Nothing To See Hear (Dispersal)

Appropriating the techniques of riot squads and police units, patrons were steered away from the “performance space”, breaking and reforming their crowds. Fiona was a peaceful objector, and got covered in ‘Nothing to See Here’ tape for her disobedience. A stand out experience provoking self-reflection and meditation on freedom of choice.


Fragment31 / Leisa Shelton | Mapping

What are the key touch points and experiences you’ve had with live art in Australia? This work seeks to map the collective memory of all participants.  Stage One of a longer project, Leisa reported early results were showing a flurry of Perth-based projects. Stage Two will build an archive and invite us to step back and see what it looks like.