Podcast appearances and mentions of fleur kilpatrick

Literary Manager of Australian Plays, John Kachoyan joins Richard to discuss the launch of the NIMROD 50 Collection. An extensive and exciting collection of previously unpublished or out of print works to celebrate the 50th anniversary of the Nimrod Street Theatre Company.Richard is also joined by playwright and assistant lecturer at Monash University, Fleur Kilpatrick, and Gemma Livingstone, a theatre student at Monash University, who shared their thoughts about the proposed closure of the university’s Centre for Theatre and Performing Arts.Fleur also talked about how COVID-19 has changed the manner in which theatre companies, actors, artists and others involved in the industry now operate.Australian Plays launches the NIMROD 50 Collection | Arts ReviewNIMROD 50 Collection | Australian PlaysThe Centre Cannot Hold | Witness PerformanceSave Our CTPWhy the "new normal" should be artist led | Arts Hub

If you’ve ever wanted to dismantle the barriers preventing everyone’s equal participation in the arts, this episode of The ArtsHubbub might point you towards some of the resources you need. This month, Arts Access Australia’s Matthew Hall talks about creating more equitable playing fields and giving people better control of their own stories. Plus, Narangga and Kaurna man Jacob Boehme talks about centring First Nations culture; we learn about practical guides to access and equity with Diversity Arts Australia’s Lena Nahlous and appearance activist Carly Findlay; Fleur Kilpatrick discusses life with dyslexia; and Multicultural Arts Victoria’s Veronica Pardo asks what it will take to create real change in the sector. Our theme music is ‘Chasing Waterfalls’ by Tim Shiel. Also featuring music by The Other Stars.

On this episode Richard discusses ways artists are staying connected to their community and work throughout the pandemic.He speaks with Fleur Kilpatrick for their regular segment Shoot the Messenger. However, instead of discussing live theatre they discuss some of the interesting works and collaborations appearing online. Richard then speaks with Adrian Collette AM. Collette is the CEO of Australia Council for the Arts which is the Australian government’s arts funding and advisory body. The discussion centres around the reallocation of funding to better serve the arts community during the pandemic. Next Richard speaks with Kate Ryan who is the curator of children’s programs at the NGV. The NGV has organised online activities to keep kids creative and engaged in the arts.Finally Richard speaks with fashion illustrator Angie Rehe about ways people can improve their drawing skills. Rehe said “learning to draw is really learning to see”, and shares activities to help focus the brain on drawing literally rather than symbolically.

This week's SmartArts is hosted by Daniel Santangeli, filling in for Richard Watts.Daniel reviews theatre with Fleur Kilpatrick on the regular Shoot the Messenger segment. They discuss Birdoir, New Balance, and The Feather in the Web. This segment contains explicit content.Then Daniel talks to Phaptawan Suwannakudt about Knowledge in Your Hands, Eyes and Mind. This work focuses on a temple Phaptawan grew up around, and the art of temple murals. The title refers to knowledge acquired through action, through observation and through thought. Daniel finishes the show talking to Shelley Lasica about her two upcoming dance performances The Design Plot and Greater Union. Shelley considers form and context as an intrinsic part of all of her works.

UK writer and director Javaad Alipoor's The Believers Are But Brothers unpacks extremism in the age of the internet, we pay tribute to Australian poet Les Murray, lighting designer Richard Vabre takes us behind the scenes to explain his craft, Fleur Kilpatrick and David Finnigan discuss the spectre of climate change on stage, and Tanja Beer explains her philosophy of sustainable theatre making and 'ecoscenography'.

UK writer and director Javaad Alipoor's The Believers Are But Brothers unpacks extremism in the age of the internet, we pay tribute to Australian poet Les Murray, lighting designer Richard Vabre takes us behind the scenes to explain his craft, Fleur Kilpatrick and David Finnigan discuss the spectre of climate change on stage, and Tanja Beer explains her philosophy of sustainable theatre making and 'ecoscenography'.

Stream podcast episodes on demand from www.bitesz.com (mobile friendly). Slaughterhouse Five ((Monash Uni Student Theatre, Theatre Works Melbourne, Australia) (review)A theatrical adaptation of one of the most loved, important novels of the 20th Century.This all happened, more or less. The war parts, anyway, are pretty much true. The aliens, spaceships, human zoo and assassination, perhaps less so. But there really was a city called Dresden and it really was firebombed during a war that was really fought by children. And Kurt Vonnegut Jnr really did witness all that fire and death as a prisoner of war. And he wrote a book about it. And award-winning playwright Fleur Kilpatrick really has adapted it for the stage to be performed by people no older than the ones we once sent to war.For more information visit  http://www.theatreworks.org.au/program/slaughterhouse-five/Theatre First RSS feed:   https://feeds.megaphone.fm/ivetheatrereviews Subscribe, rate and review Theatre First at all good podcatcher apps, including Google Podcasts, Apple Podcasts (formerly iTunes), Stitcher, Pocket Casts, CastBox.FM, Podbean, ACast etc.If you're enjoying Theatre First podcast, please share and tell your friends. Your support would be appreciated...thank you.#theatre #stage #reviews #melbourne #australia #monashuni #slaughterhousefive #slaughterhouse5  Learn more about your ad choices. Visit megaphone.fm/adchoices See acast.com/privacy for privacy and opt-out information.

This week Richard catches up with Fleur Kilpatrick for Shoot the Messenger, Wintersweet's own James Welshby from Yummy stops by and ACCA curator Hannah Presley chats about the featured exhibition A Lightness of Spirit is the Measure of Happiness.

Richard kicks off this week with Shoot the Messenger alongside Fleur Kilpatrick,Co-creators Olivia Tartaglia and Alex Tate chat about Bureau of Metroanxiety at Next Wave, andPolyglot Artistic Director Sue Giles joins us to talk about the company's 40th anniversary alongside her recent Green Room lifetime Achievement award.

Richard is back for another year of Smart Arts; Fleur Kilpatrick kicks back in another episode ofShoot the Messenger; Director and co-founderPete Keen pops by to spruikVIA ALICE at Sugar Mountain and Tessa Waters, Victoria Falconer and Rowena Hutsonaka ofFringe Wives Club fame come in to invite us along to their launch party at Melba Spiegeltent.

As Richard's final podcast for the year - Daniel Santangeli pops in for the Midsumma review; Kate Champion spiruks the NICA students exhibit Please hold; Eva Seymour and Morgan Rose chat about Red Stitch Theatre's newest work Desert, and Fleur Kilpatrick chats to Richard on the phone about the year's highlights from Shoot the Messenger.

This week's podcast includes Fleur Kilpatrick's fortnightly theatre review 'Shoot The Messenger', as well as performers Matt Kelly and Richard Higgins giving you the low down on the new family oriented production of 'The Listies Ruined Xmas', which has a Richard Watts stamp of approval.Also on the show is Angela Conquet on the return of the annual celebration of freedom and movement that is Dance Massive.Enjoy!

When twenty-five years of supernatural experiences culminate with you standing on a football field at midnight, convinced that there is a dead woman buried under your feet, what do you do? Contact Mic returns with an episode about smelling the dead, dreaming the truth and deciding to let it all go. A podcast about people by Sarah Walker, Fleur Kilpatrick, and Kieran Ruffles.

Death is never an easy thing. But how do you grieve when your every move is being captured by thousands of cameras? Contact Mic kicks off with an episode about privacy, publicity and last goodbyes.   A podcast about people by Sarah Walker, Fleur Kilpatrick, and Kieran Ruffles.

"I think being part of the community is key to being a good critic." - Jane Howard "My rule of thumb is, if they've been to my house for dinner, or I've been to their house for dinner, I'm not going to review them." - Richard Watts In the second episode of our season on responsibility and art, our guests are Jane Howard, SA-based theatre critic whose work appears in The Guardian, Kill Your Darlings and Meanjin, and Richard Watts, host of SmartArts for 3RRR, national reviews editor for ArtsHub and long-term champion of Melbourne arts. We talk about responsibility in arts journalism and criticism: how much of it is advocacy and how much critical reflection, ignorance and how to avoid it, and how to avoid becoming friends with artists! "One of the things that got me into reviewing in the first place was going to the theatre and hearing critics in the foyer afterwards loudly complaining about a show and then seeing a very lukewarm review, a blandly critical review published the next day. I thought “No, it’s important to actually be critical.” As much as I admired Margaret Pomeranz’ passion for Australian cinema, for example, I thought that by going soft on Australian film she did the industry and the audience a disservice." - Richard Watts Discussed in this episode: processing difficult art, writing about famous people whose work you have never seen before, conscious and unconscious bias, Cameron Woodhead, feminist comedy, how bad art can make for a very good review, seeing Atlanta Eke, Strictly Ballroom, drunk Saturday night crowds that laugh at anything, Margaret Pomeranz, Priscilla Queen of the Desert the Musical, whether being a feminist reviewer will harm your career, so many white voices!, issues of race and gender, and whether 200 words could ever be enough. "One of the interesting things about theatre criticism… is the breadth of works that theatre critics are supposed to see…. A literature critic isn’t going to review 50 Shades of Grey unless it’s a joke. Most of them aren’t reviewing commercial fiction; they’re reviewing literature. But theatre critics must review both small, independent, artistically difficult work - and we review musicals." - Jane Howard Stay tuned: we have more exciting and intellectually rigorous conversations to come. Podcast bibliography: Lyn Gardner: Theatre review: Menopause the Musical (The Guardian, 20 April 2007) Fleur Kilpatrick in conversation: Cameron Woodhead on The City They Burned, hetero-normativity, the bible, how i got it wrong (School for Birds, 23 September 2014) Fleur Kilpatrick in conversation: Gabriel Comerford on critical culture in Brisbane dance (12 September 2014)

"Making art is a sedimentation of layers. What we make today indirectly reflects what was done before. Maybe it comes as an opposition, or a continuation, as an echo, but we need to be aware of that. And I do think that in Australia we are not aware of what's been done." - Angela Conquet In episode three, the Artistic Director of Dancehouse, Melbourne's home of contemporary dance, Angela Conquet, joins hosts Jana Perkovic and Fleur Kilpatrick. We talk about contemporary dance in Australia, what makes it particular; about the urgency to preserve it, and whether Australia, being such a young country, is not aware of the forces of impermanence. Discussed in this episode: Russell Dumas, how much space Australian pedestrians take, reinventing hot water, RoseLee Goldberg not getting Australian dance, what it means to have or not have a revolution, Merce Cunningham, the historical importance of being seen at Avignon, and much else. "As the in-house Australian here, I apologise on behalf of us all for our extravagant use of space." - Fleur Kilpatrick Enjoy and stay tuned: we have more exciting and intellectually rigorous conversations to come. Podcast bibliography: Julian Meyrick: Trapped by the Past, Why Our Theatre is Facing Paralysis (Platform Papers, Quarterly essays on the performing atrs, No 3, January 2005) Peggy Phelan: The ontology of performance: representation without production (in Unmarked: The Politics of Performance) For more information about Angela Conquet's work, visit Dancehouse (also in person). Photo credits: Alfred Mrozicki.

“There is a good side to not being crushed by culture. I think in Europe you're really aware of the centuries and centuries of Western culture and it has all been done. One of the beautiful things about Australian writing, culture and performance is this sense that that's not hanging over everybody. I think at its best there is a tremendous freedom in Australian performance, a huge intelligence and a kind of disrespect that's really healthy.” – Alison Croggon In episode two poet, novelist, critic and commentator Alison Croggon, joins hosts Jana Perkovic and Fleur Kilpatrick. We talk about the place of the review in art documentation and how one balances the responsibilities that the critic has to the artist, the audience and to history. “What there mustn't be is one singular discourse saying 'this is how it was'. That's what I've always felt most hostile towards,” says Alison. “(We are now) letting go of the fiction that I think happens less and less, that critics are the objective judges of whatever art happens around their feet and entering much more into the flux of the moment. The moment passes. It must pass. Because it is mortal. That is true of all art but it is why theatre and performance are so extraordinary and so beautiful.” Discussed in this episode: the mutual dependency of blogs and independent theatre, Robert Brustein, when reviewers are incorrect, Requiem for the 20th Century, internet trolls (all men!), and the cowardice of anonymity. "There was always some very brilliant work going on under the skin in Australia. In other places that work would get noticed, and in this country it just didn't. And I suppose I felt really strongly about that, because I saw so many artists who were kind of destroyed by that - that they simply might not have bothered." - Alison Croggon Enjoy and stay tuned: we have more exciting and intellectually rigorous conversations to come. Podcast bibliography: Julian Meyrick: Trapped by the Past, Why Our Theatre is Facing Paralysis (Platform Papers, Quarterly essays on the performing atrs, No 3, January 2005) Alison Croggon: On reading time and memory (Overland, 214 Autumn 2014) Alison Croggon: The problem of praise (Requiem for the 20th Century) (November 25, 2006) For more information about Alison Croggon, visit her on Theatre Notes, her archive on Tumblr, her personal website, or Twitter. Photography credits: the amazing Sarah Walker.