Podcast appearances and mentions of kate gaul

JULES BILLINGTON joins me to talk about The Past is a Wild Party - by Noelle Janaczewska - a SIREN THEATRE Prod. Directed by Kate Gaul. TRASH AND HIGH ART - CENSORSHIP > GAPS AND SILENCES.  GIRL ON GIRL SEX.    

Mozart's The Magic Flute will be presented by Opera Australia during their Summer season in early 2024. At the helm of the production is Director Kate Gaul. An artist of tremendous invention and imagination. The production she conjures will thrill and seduce, as this opera favourite is brought to vivid life. Assisting Kate as Movement Director is frequent collaborator, Andy Dexterity. His eclectic style and command of the physical always delights and sheds enlightening perspective. Both were guests in early seasons of the STAGES podcast. It was a treat to catch up with them once again to hear what's been happening in their worlds and what we can look forward to in the world of The Magic Flute. Kate has been directing full-time since completing the NIDA Director's course in 1996 and has established herself as a distinctive and inventive director, with productions for such companies as Pinchgut Opera, Belvoir St Theatre, Ensemble Theatre, Griffin Theatre and Melbourne Theatre Company. Kate's productions include The End of Winter, Camp!, Good With Maps, The Trouble with Harry, The Ham Funeral, A Midsummer Night's Dream (Britten), Misterman, Invisible Circus, Il Matrimonio Segreto (Conservatorium of Music), Castor et Pollux (Pinchgut Opera), The New Electric Ballroom and Carmen (OzOpera). Andy Dexterity is a Green Room Award-nominated performance maker primarily recognised for his unique brand of movement, fusing dance, physical theatre and physical languages. Andy is fascinated by the way we communicate and interact as a species and Andy creates playful work with the intention to empower, connect and transcend linguistic boundaries. The Magic Flute plays the Sydney Opera House February 1st to March 16th, 2024The STAGES podcast is available to access and subscribe from Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Follow socials on instagram (stagespodcast) and facebook (Stages).www.stagespodcast.com.au

The evolution and construction of any theatre is eternally fascinating. Elements of collaboration, persistence, intellect, resilience, humour, patience and invention are required - the creative process is unleashed as players and creatives forge forward to arrive at Opening Night - delivering a theatrical ‘baby' ready to be invested, received and judged by the anticipating audience. This journey is much more heightened in the construction of a new play - CAMP by Elias Jamieson Brown, commissioned by Robyn Kennedy and directed by Kate Gaul - is a play with historical and political elements - chronicling the rise of a movement in Australia. The birth of LGBTQI rights and the subsequent advocacy it ignited for further human rights at home and globally, is a salient story demanding to be told to an audience ignorant of what has gone before - but also to an audience who forged that movement and who hopefully will find further and deserved recognition in this theatrical treatment. The play is being served at World Pride - a gathering of the global tribe in Sydney - where the reverberations of the movements early days can now be rightly celebrated - alongside a recognition of what is still left to be accomplished. How will this play be received? What does it take to build a production from the ground floor? Who are the players tasked with this responsibility? In this episode of the STAGES podcast, we chart the development of the play CAMP, speaking with the creatives and artists involved and examine that tumultuous time in history (not that far away) when the story of CAMP was born. The STAGES podcast is available to access and subscribe from Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Follow socials on instagram (stagespodcast) and facebook (Stages). www.stagespodcast.com.au

During February, the Siren Theatre Company presented Kate Gaul's bewitching production of The End of Winter - a performance essay by Noelle Janaczewska, at the Stables Theatre. The production featured actor Jane Phegan.This episode of STAGES will chronicle the evolution of the production. STAGES followed the personnel - performer, director, designers, playwright - over a 4 week period, checking in occasionally to ascertain the contribution of each to the production process and how they navigate the construction of theatre.To the uninitiated, it is a fascinating process as disparate parts collaborate under the guidance of director to create the magic of live performance. The deft conjuring of illusion and the seductive pull of storytelling, transport us to other worlds, and enlighten us through evocative text and passionate craft.STAGES approached Kate Gaul from the Siren Theatre Company as rehearsals were about commence, giving the podcast access to a show's evolution. The company she had assembled combined the team who had previously presented Janaczewska's Good with Maps (a production that toured extensively), and keen creatives, early in their careers as theatre makers.Through the episode you'll be privy to my conversations with Director Kate Gaul, Actor Jane Phegan, Composers/Sound Designers Nate Edmondson & Kaitlyn Crocker, Lighting Designer Becky Russell and playwright Noelle Janaczewska.The End of Winter is a new work for the stage that speaks to our current climate crisis. Written in the wake of the devastation of the 2019 bushfires, it asks: What is happening to Winter?The STAGES podcast is available to access and subscribe from Whooshkaa, Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Recipient of Best New Podcast at 2019 Australian Podcast Awards. Follow socials on instagram (stagespodcast) and facebook (Stages).www.stagespodcast.com.au

Director Kate Gaul joins me, Regina Botros, to talk about her show The End of Winter at Griffin Theatre. Kate Gaul is a theatre and opera director, creative producer, festival director, and designer based in Sydney, NSW. She is a graduate of NIDA (Directing 1996) and Artistic Director of Siren Theatre Co. Kate undertook a residency with SITI Company (NYC) and was Associate Director at Ensemble Theatre.    

With over 230 episodes in the STAGES archive, it's time to revisit conversations featured in previous seasons. STAGES spotlights such episodes, in case you missed them first time ‘round - or so you can simply savour a second listen. Either way, you'll be accessing precious oral histories from the people who were there, on and around our stages.Kate Gaul has established herself as a distinctive and inventive director, with directing credits including plays, opera, physical theatre, devised works, and classics for theatre companies and schools in Australia. She is Artistic Director of Siren Theatre Company where her passion is for text-based drama which challenges artists and audiences to have bold imaginative experiences.She has been a considerable force in playmaking in Australia over the past 25 years. Directing premiere productions and new Australian works. Her directing folio has covered a broad repertoire of stories – The Laramie Project, The Trouble with Harry, Svetlana in Slingbacks, The Ham Funeral, Run Rabbit Run, The Moors and Good With Maps, to touch on a few.A champion of the work of Irish playwright Enda Walsh, she has directed productions of his plays Penelope, The New Electric Ballroom and Misterman – this last play receiving extensive glowing accolades and huge success at the 2017 Edinburgh Festival.Opera credits include Castor + Pollux (Pinchgut), Eight Songs for a Mad King (Verbruggen Ensemble), The Cunning Little Vixen (Sydney Chamber Opera), Hansel and Gretel (Pacific Opera), Il Matrimonio Segreto, English Eccentrics, Les Mamelles de Tiresias, Cendrillon (Sydney Conservatorium), Dialogues of the Carmelites, Die Fledermaus (WAPPA). For Opera Australia, Kate was the assistant director of Rigoletto (Opera Australia) Aida, Opera Australia's Handa Opera on Sydney Harbour and revival director for the schools' production By the Light of the Moon, and OZ Opera production of Carmen, 2007.Kate directed a gender-bending H.M.S Pinafore for Hayes Theatre and its NSW tour in 2020.During the pandemic Kate has been a saviour in lockdown, regularly recommending a vast repertoire of world theatre that periodically played online. She has her finger on the pulse of exhilarating theatre and those who make it. If it's a must-see, Kate will urge us to see it.Kate Gaul is a vital artist and one whose productions never fail to impress, to engage and to prompt discussion.sirentheatreco.comThe Stages podcast is available from Apple podcasts, Spotify, Whooshkaa and where you find your favourite podcasts. www.stagespodcast.com.au

Sound has been used to evoke emotion, reflect mood and underscore action in the arts since time began. The contribution of the Sound Designer in the theatre, provides a further dimension in which to elicit the world of the play.Nate Edmondson is an international, multi-award winning composer, sound designer and occasional musical director. His work crosses all mediums - film, television, radio, advertising and stage.Originally from Western Australia, Nate grew up amongst the remote red dirt and spinifex of the Pilbara region, before moving to Perth. There he trained as both a classical and jazz trombonist, in addition to fronting several local bands as a multi-instrumentalist singer/songwriter and arranger.Nate is a graduate of the National Institute of Dramatic Art, where he trained under the mentorship of some of Australia’s finest musicians and sound designers.He has worked extensively in the theatre and live events industries; his detailed sound designs and music scores can be heard on stages around the world.In 2015, Nate’s sound design work made international headlines when a social media campaign petitioning pop star, Taylor Swift, for the use of one of her hits for the Belvoir production of Seventeen, was successful, with Swift personally granting approval via Twitter, in an unprecedented move.He creates designs in intimate spaces and large auditoriums; all with enormous detail providing audiences with a powerful aural hypnosis that transports them directly to the world of the play.He is a passionate advocate for the artistry of sound design and how it extends our theatre experience. He is also incredibly fascinating and eloquent detailing how the youngest of all production disciplines evolved.Nate Edmondson’s next sound design can be heard in Kate Gaul's production of HMS Pinafore, playing The Hayes Theatre from November 8th to December 14th.The Stages podcast is available in iTunes, Spotify and Whooshkaa.

Our first special episode! An investigation into our theatre landscape, featuring five of Sydney's most prominent Artistic Directors from the independent theatre sector (Ayeesha Ash, Dino Dimitriadis, Kate Gaul, Kim Hardwick, Jeremy Waters).

A facebook post from actor Tom Campbell recently gathered much traction. He cited that the entertainment industry was making much-needed advances in embracing racial, gender and sexual diversity in its casting decisions but was failing in its representation of actors he described as having “non-normative bodies”.You see, Tom was born without a hand. Not that this has ever been a concern for him in life, or his pursuit of an acting career. It has posed some interesting obstacles along the way however, from parties attempting to define their understanding of ‘the norm’. Tom has always tackled this with his perfect charm and engaging sense of humour.After graduating from NIDA he has constructed a broad career which boasts a lengthy CV and two Sydney Theatre awards. He has played classical repertoire, one-man shows, television, stand-up comedy and he recently embraced his first musical – more of which he hopes will follow.Always philosophical, witty and frank – he is the perfect guest – and it was a treat for STAGES to sit down and converse with Tom Campbell..

Kate Gaul has been a considerable force in playmaking in Australia over the past 25 years. Directing premiere productions and new Australian works, her directing folio has covered a broad repertoire of stories – The Laramie Project, The Trouble with Harry, Svetlana in Slingbacks, The Ham Funeral and Richard the Third to touch on a few. She has worked with our leading theatre companies and taught at training institutions, including NIDA and WAAPA.A champion of the work of Irish playwright Enda Walsh, she has directed productions of his plays Penelope, The New Electric Ballroom and Misterman – this last play receiving extensive glowing accolades and huge success at the 2017 Edinburgh Festival.Kate is a vital artist and one whose productions never fail to impress, to engage and to prompt discussion.