Podcasts about beng oh

Soldier Boy director Beng Oh interview.  Soldier Boy is in the 2025 VCE Theatre and Drama Syllabus.  Plays at Theatre Works, St Kilda, Melbourne, 19 June to 5 July.  Soldier Boy | Theatre Works

Sisters Hayley and Mandy McElhinney are two of Australia's finest stage and screen performers. Having built their careers as individuals, they now join forces for their playwriting debut. The pair have written and will star in Dirty Birds at the Black Swan State Theatre Company — a strange, funny and moving portrait of two women trying to find their place in the world.Also, the plight of asylum seekers involved in a 2010 maritime disaster that left 50 people dead has inspired This Rough Magic — a new, dreamlike play that weaves their story into Shakespeare's The Tempest. And we take a walking tour of London's famous theatre district, the West End, with theatre producer and columnist for The Stage, Richard Jordan.

Live on stage at Melbourne's iconic La Mama Theatre, newly rebuilt following a devastating fire, we look at the history of independent Australian theatre and its impact on our culture, and we discuss the path ahead for small theatres in the wake of the pandemic.

Live on stage at Melbourne's iconic La Mama Theatre, newly rebuilt following a devastating fire, we look at the history of independent Australian theatre and its impact on our culture, and we discuss the path ahead for small theatres in the wake of the pandemic.

Live on stage at Melbourne's iconic La Mama Theatre, newly rebuilt following a devastating fire, we look at the history of independent Australian theatre and its impact on our culture, and we discuss the path ahead for small theatres in the wake of the pandemic.

Richard conducts three interviews.1. Richard talks to Nicole Beyer of Theatre Network Australia about the Australia Council funding decision and the small- to medium-sized arts organisations that will miss out on funding.2. Richard talks to Simon Abrahams, the creative director and CEO of Melbourne Fringe, about some of the exciting events in this year's festival.3. Richard talks to writer Daniel Keene and director Beng Oh about Wild Cherries, a show about modern slavery that's coming up at La Mama Theatre.

On this special Midsumma edition of the Bi-Polycast, Anthony looks closely at ‘Cock’. Featuring Matthew Connell as ‘John’ and Directed by Beng Oh, we explore the struggles that come with being in love with two […] http://media.rawvoice.com/joy_triplebipass/p/joy.org.au/triplebipass/wp-content/uploads/sites/338/2019/01/BiPolycast_Cock.10.01.2019-2.mp3 Podcast: Play in new window | Download (Duration: 36:36 — 83.8MB) Subscribe or Follow Us: Apple Podcasts | Android | Spotify | RSS The post Bi-Polycast: Cock!!! appeared first on Triple Bi-Pass.

La Mama’s P.O.V. Dave is essentially a film noir play about a retiring press photographer who gets more than he bargained for with his last assignment. It definitely shows that most of playwright/producer Noel Maloney’s background is in screenwriting as he takes on the kind of story and genre that is much more acquainted with the screen than with the stage. Dave’s profession as a merchant of dirty secrets working for his heartless editor, Bronwyn, has finally driven away his beloved wife, Susan (both played brilliantly by Eleanor Howlett) and, now that one of his assignments has driven a young girl to suicide, this job could also destroy his relationship with his son, Jack (the talented young Jude Katsianis) if he should ever find out. He plans to get out after getting one last fat paycheque that will set him up until he finds a more respectable job. He just has to get a few compromising shots of a sleazy priest named Kevin (Gabriel Partingon), although it turns that he and his saccharine wife Kathryn (Annie Lumsden) have been playing this game for some time and have long known how to win. All of this is depicted in a long series of flashbacks that Dave is experiencing in his dying moments on a train. As such, much of the story is told through narration delivered by Dave, who is both our dying man looking back on how he ended up here and our jaded film noir detective whose gloomy inner psyche the piece is delving into. This is what Maloney turns to whenever he wants to write in a Hitchcockian scene that doesn’t translate so well to the stage. Strangely though, it’s also where he puts many moments that probably would have worked more powerfully if they were played out in full. Even though occasionally it offers a special insight into Dave’s thoughts, it’s still a rather clunky storytelling device, as is the overused framing of the wretched man’s life flashing before his eyes as he faces an untimely death. What makes it work much better than it probably should is the inspired performance of Keith Brockett as Dave. Brockett is certainly not the typical film noir anti-hero, and as far as dying wretched men go, he is certainly one of the more interesting and entertaining ones. Brockett has such a powerful stage presence and has so finely perfected his characterisations of short, bumbling, amusing yet complex characters that Dave’s overindulgent amounts of dialogue are still a joy and a fascination to listen to. The same goes for the rest of the cast, who populate this familiar narrative landscape with characters that feel wonderfully fresh and exciting. Dave’s family, including his fading father (Peter Stratford) are the true emotional backbone and moral centre of the story. They definitely feel like a family worth fighting for, and their characterisations are much fuller than those of most of their cinematic counterparts. The seedy editor, Bronwyn, whose scenes are all angry phone conversations with Dave, is the kind of boss character you would only hear and never see if this was a film. However, director Beng Oh more than makes do with having Howlett perform her lines with her back to the audience and a cigarette in her hand. Partington and Lumsden, as the creepy priest and his manipulative wife, are two very striking villains and the perfect foil to the naïve Dave and Susan. The final theatrical touch that enlivens the story and compensates for the clichés is Christina Logan-Bell’s staging and Tom Backhaus’ sound design. Just like the lead performances, the bookending scenes on the train that show Dave’s gruesome death manage are dramatized as an incredibly immersive fusion of the realism of the cinema and the hyperrealism of the theatre, which is what Maloney seems to have been aiming for in his writing. Written by Christian Tsoutsouvas

La Mama’s P.O.V. Dave is essentially a film noir play about a retiring press photographer who gets more than he bargained for with his last assignment. It definitely shows that most of playwright/producer Noel Maloney’s background is in screenwriting as he takes on the kind of story and genre that is much more acquainted with the screen than with the stage. Dave’s profession as a merchant of dirty secrets working for his heartless editor, Bronwyn, has finally driven away his beloved wife, Susan (both played brilliantly by Eleanor Howlett) and, now that one of his assignments has driven a young girl to suicide, this job could also destroy his relationship with his son, Jack (the talented young Jude Katsianis) if he should ever find out. He plans to get out after getting one last fat paycheque that will set him up until he finds a more respectable job. He just has to get a few compromising shots of a sleazy priest named Kevin (Gabriel Partingon), although it turns that he and his saccharine wife Kathryn (Annie Lumsden) have been playing this game for some time and have long known how to win. All of this is depicted in a long series of flashbacks that Dave is experiencing in his dying moments on a train. As such, much of the story is told through narration delivered by Dave, who is both our dying man looking back on how he ended up here and our jaded film noir detective whose gloomy inner psyche the piece is delving into. This is what Maloney turns to whenever he wants to write in a Hitchcockian scene that doesn’t translate so well to the stage. Strangely though, it’s also where he puts many moments that probably would have worked more powerfully if they were played out in full. Even though occasionally it offers a special insight into Dave’s thoughts, it’s still a rather clunky storytelling device, as is the overused framing of the wretched man’s life flashing before his eyes as he faces an untimely death. What makes it work much better than it probably should is the inspired performance of Keith Brockett as Dave. Brockett is certainly not the typical film noir anti-hero, and as far as dying wretched men go, he is certainly one of the more interesting and entertaining ones. Brockett has such a powerful stage presence and has so finely perfected his characterisations of short, bumbling, amusing yet complex characters that Dave’s overindulgent amounts of dialogue are still a joy and a fascination to listen to. The same goes for the rest of the cast, who populate this familiar narrative landscape with characters that feel wonderfully fresh and exciting. Dave’s family, including his fading father (Peter Stratford) are the true emotional backbone and moral centre of the story. They definitely feel like a family worth fighting for, and their characterisations are much fuller than those of most of their cinematic counterparts. The seedy editor, Bronwyn, whose scenes are all angry phone conversations with Dave, is the kind of boss character you would only hear and never see if this was a film. However, director Beng Oh more than makes do with having Howlett perform her lines with her back to the audience and a cigarette in her hand. Partington and Lumsden, as the creepy priest and his manipulative wife, are two very striking villains and the perfect foil to the naïve Dave and Susan. The final theatrical touch that enlivens the story and compensates for the clichés is Christina Logan-Bell’s staging and Tom Backhaus’ sound design. Just like the lead performances, the bookending scenes on the train that show Dave’s gruesome death manage are dramatized as an incredibly immersive fusion of the realism of the cinema and the hyperrealism of the theatre, which is what Maloney seems to have been aiming for in his writing. Written by Christian TsoutsouvasSee omnystudio.com/listener for privacy information.

Hosts Ben and Jonathan are joined in the studio with BENG OH, director of the encore season of The Yellow Wave, and co-founder of 15 Minutes from Anywhere artist collaboration with writer Jane Miller. The Yellow Wave is being performed at The Butterfly Club, Tuesday – Sunday 26th April – 8th May, 2016See omnystudio.com/listener for privacy information.

Hosts Ben and Jonathan are joined in the studio with BENG OH, director of the encore season of The Yellow Wave, and co-founder of 15 Minutes from Anywhere artist collaboration with writer Jane Miller.  The Yellow Wave is being performed at The Butterfly Club, Tuesday – Sunday 26th April – 8th May, 2016

Interviews, news and reviews from across the arts. Today's program features Artistic Director and CEO of La Mama, Liz Jones, discussing the book launch of Margaret Cameron's ' I Shudder To Think:Performance As Philosophy'. Co-creator of Australian National Theatre Live, Grant Dodwell, discusses Emerald City at the Lido Cinema and theatre director Beng Oh and playwright Jane Miller discuss 'The Yellow Wave'.