Podcasts about red stitch

Join Richard Watts for his penultimate episode before he closes out 2024 with his 20th anniversary next week! Details for the live event happening on Thursday 19th can be found here: https://www.rrr.org.au/events/smartarts-20th-anniversary-special Whether you're a Midsumma Festival veteran or you're wanting to go for the first time, Chief Executive and Creative Director, Karen Bryant, is here to give us a 2025 program overview. The theme for 2025 is Collective Identities, and the festival runs from 19 January - 9 February at various locations around the city and the regions. Full program here: https://www.midsumma.org.au/info/program-guides/We've been showcasing the 2025 programs of theatres around Melbourne for a few weeks and now it is time to hear from Red Stitch!! Artistic director, Ella Caldwell, tells us all about what to expect (perhaps the unexpected) next year and a bit about their fundraising campaign, Long Live Big Little Theatre - which you can donate to now to help them get to their multi-year goal of $2 million. TarraWarra Museum of Art Curator, Anthony Fitzpatrick, tells us about the current exhibition, Intimate Imaginaries. Get along to the picturesque gallery in Healesville from now until March 10 to see contemporary and lively art from a collection of 13 artists. Tickets available here.Australian soprano, musical theatre royalty and actress, Marina Prior AM, joins Richard to talk about her latest project with Victorian Opera, Follies. They talk about her character (Phyllis Rogers Stone), what it's like to be a legend among legends, and performing at The Palais! You can catch Follies from February 1-6 at The Palais Theatre in St Kilda.Was ACCA's new CEO and Artistic Director Myles Russell Cook always destined for the job? Myles joins Richard to talk about taking on the role, and The Art of Lazy – an evening with Lady Susan, showing Saturday December 14th, plus gives us some highlights for the year to come at ACCA.

Lucy Ansell and Caroline Lee are both currently starring in the Red Stitch production of José Rivera's play “Your Name Means Dream” which explores the notion of what it means to be human in a world increasingly encroached upon by AI. No AI was used in discovering the answers to these questions though.Get your tickets to "Your Name Means Dream" here:https://www.redstitch.netSupport this show http://supporter.acast.com/the-saturday-quiz. Hosted on Acast. See acast.com/privacy for more information.

Richard speaks to actor Tamblyn Lord on the Australian premiere of Philip Ridley's play The Poltergeist, at La Mama Theatre. Gertrude Studios curator, Dr Amelia Winata, introduces the 2024 exhibition. Giovanni Adams joins Richard in studio to discuss his role as Ike Turner in Tina, The Tina Turner Musical. Director Anna Reece gives an overview of the Perth Festival 2025 program. Finally, the cast of Your Name Means Dream, Caroline Lee and Lucy Ansell talk about performing the show at Red Stitch.

Death is not a very funny subject. Yet, comedian, writer and musician Eric Idle has spent 60 years showing us the funny side of our all-too-fleeting lives. The Monty Python member is now touring Australia with his show Always Look on the Bright Side of Life, Live! He's also written a new book about the creation of his musical, Spamalot.Also, as we, as a society, adjust to the ways in which artificial intelligence will affect our everyday lives, playwright José Rivera brings us a clever new play called Your Name Means Dream, and Opera Australia is celebrating the essential role of the opera chorus in a show called Chorus!

The Welsh playwright Gary Owen writes authentic portrayals of working people living tough lives with wit, passion and dignity. Right now, three of his plays are being staged in Australia. Romeo and Julie and Iphigenia in Splott are both at Red Stitch and his reworking of The Cherry Orchard is at the Old Fitz Theatre in Sydney.Also, rising Australian playwright Benjamin Nichol delivers two blistering new one-person plays in a double bill at fortyfivedownstairs, Milk and Blood, and we meet John 'Divine G' Whitfield, the man whose story inspired Sing Sing, a new film about prisoners participating in the Rehabilitation Through the Arts theatre program at New York's Sing Sing Correctional Facility.

Richard Watts OAM reporting for SmartArts! As always, he's here to give you an inside look into the fabulous people behind all of the brilliant goings-on of Naarm's flourishing art scene. Let's go!Amid the housing crisis, Midsumma's CEO Karen Bryant is on the hunt for office space. The festival is Australia's premier queer arts and cultural organisation, bringing together a diverse mix of LGBTQIA+ artists, performers, communities and audiences. So, got a spare 200m sq space for a few legendary creatives? Get in touch: admin@midsumma.org.au What do you know about Romeo & Julie? You read that right. Director Kamarra Bell-Wykes and actor Damon Baudin are in the studio to tell us about the Red Stitch production of Romeo & Julie which has previews 20 - 23 July, and is showing for Season 24 July - 18 August. Opera Australia's staging of Breaking the Waves is coming to Hamer Hall, at the Arts Centre Melbourne on Friday July 26. To tell us all about the opera based on Lars von Trier's 1996 film is Jennifer Black, Lead Soprano, who plays the role of Bess.Queer artist and performer Tristan Meecham has a new gig hosting the Arts Centre Melbourne audio series ‘Queering the Collection' available to listen to now here (spotify) and here (itunes)Plus, art world figure Melissa Loughnan has been appointed by Melbourne Art Fair as Fair Director for 2025 and beyond. Hear her speak about her future vision for the Fair and what the opportunity means to her.And of course, Anne-Marie Peard, is in for her Theatre Review round-up.

Welcome back to another instalment of SmartArts! Oliver Coleman is steering the ship for you again and boy are we in for a cruisy ride... First up, CLIPPED music video festival director Samuel Bright and James Tran going Oliver to talk all things CLIPPEDKilda, music video festival championing the underrepresented creative community behind music videos! If, like Oliver, you dedicated Saturday mornings to hours and hours of RAGE… this cinema style screening of music videos will be right up your alley… Director Tom Healey comes in to talk through his latest production, Red Stitch's Blackout Songs. It is a two hander performance which explores love, addiction and memory. Open from June 5, tickets are available here.Then, we get a MIFF 2024 First Glance programming announcement, by Artistic Director Al Cossar! He discusses highlights of first films confirmed for opening night, music on film gala and other premieres to pencil into your diary.Plus, much treasured theatre goer and reviewer, Anne-Marie Peard, tells us all the hottest stuff hitting our stages this week!

Colin Lane is a comedian, actor & host. He is best known as Lano from Lano and Woodley, Australia's most beloved comedy duo. In almost 20 years together Lano & Woodley won the coveted Perrier Award for best show at the Edinburgh Fringe Festival, starred in their own television series and toured sold-out shows across the country. They said ‘Goodbye' in 2006 with a national tour that took in 34 markets and sold more than 150,000 tickets. In 2018, the duo reprised their roles as Lano & Woodley for FLY, with a sold-out national tour of 85,000 ticket sales and winning the prestigious Melbourne Comedy Festival ‘People's Choice Award'. Colin has appeared in Don's Party for the Melbourne Theatre Company and the Sydney Theatre Company, made many TV appearances including guest panellist on the UK favourite QI, alongside Stephen Fry and Alan Davies – most recently on the new-look, Sandi Toksvig version of the hugely popular show. 2016 has seen Colin working with Red Stitch under director Nadia Tass in a new Hannie Rayson play Extinction, and the musical comedy whodunit, Curtains, under Roger Hodgman for The Production Company.  He has made numerous TV appearances on Good News Week, Spicks and Specks, Welcher & Welcher, Thank God You're Here, Neighbours, All Star Family Feud, Show Me the Movie!, The Circle and hosted Ready Steady Cook (2011-2013).   His new show 'In Tails' is on sale now. In Tails with David Hobson - where a comedian and an opera singers worlds collide. We chat about his many hobbies, feeling comfortable in your own skin, collaboration, splitting up with a long-term collaborator (Frank Woodley), imposter syndrome, cancelled shows, change of view of success, his new shows, plus plenty more!   The video footage of this entire chat is now out as well (one day after release)! So check them out on YouTube under Michael Kahan Check Colin out on: Instagram: https://www.instagram.com/officialcolinlane/ Website / tickets: https://www.davidhobsonandcolinlane.com/ Facebook: https://www.facebook.com/officialcolinlane https://www.facebook.com/davidhobsonandcolinlane X/ Twitter: https://twitter.com/TheColinLane ------------------------------------------- Follow @Funny in Failure on Instagram and Facebook https://www.instagram.com/funnyinfailure/ https://www.facebook.com/funnyinfailure/ and @Michael_Kahan on Insta & Twitter to keep up to date with the latest info. https://www.instagram.com/michael_kahan/ https://twitter.com/Michael_Kahan   The video footage of this entire chat is now out as well (one day after release)! So check them out on YouTube under Michael Kahan Check Felicity out on: Instagram: https://www.instagram.com/felicityward/ Website: https://www.felicityward.com/ Facebook: https://www.facebook.com/felicityward X/ Twitter: https://twitter.com/felicityward Tiktok: https://www.tiktok.com/@felicityjward ------------------------------------------- Follow @Funny in Failure on Instagram and Facebook https://www.instagram.com/funnyinfailure/ https://www.facebook.com/funnyinfailure/ and @Michael_Kahan on Insta & Twitter to keep up to date with the latest info. https://www.instagram.com/michael_kahan/ https://twitter.com/Michael_Kahan

A Case for the Existence of God is by the American playwright Samuel D. Hunter. It is a two-hander that explores the unlikely connections between two men unalike in class, race and sexuality. Samuel is also the creator of the very unsettling hit play The Whale, a film adaption of which earned two Academy Awards.Two separate productions of A Case for the Existence of God are being presented in April — one by Outhouse Theatre Co at the Seymour Centre in Sydney and the other by Red Stitch in Melbourne.

One of the headline events at this year's Adelaide Festival is an enchanting production of Stravinsky's opera The Nightingale. It comes from the playful imagination of Robert Lepage. Lepage is an acclaimed French-Canadian writer, director and performer who, during his decades-long career, has reshaped our ideas of what theatre can be.Also, we hear a scene from Monument by Emily Sheehan, a new Australian play at Red Stitch about a tense encounter between a woman prime minister and her makeup artist, and we learn about the family history that has inspired former ABC journalist Jane Hutcheon to tell her own story on stage in the show Lost in Shanghai.

Monument by Emily SheehanDirected by Ella CaldwellRed Stitch Actors' Theatre9 August - 3 September, 2023Book now: www.redstitch.net/monument-2023Next EpisodeIf you have questions about the rehearsal room or working with a director that you want Ella or myself to speak about, DM me on Instagram @emilysheehan__ and that will give Ella and I some ideas for our podcast chat later this month.Playwriting Workshop September 5 - November 7Details here: bit.ly/banyule-playwriting

Illustrator Oslo Davis explores his lasting connection with Triple R; Melbourne International Comedy Festival Director, Susan Provan on Barry Humphries' controversial cultural legacy; Red Stitch actor Khisraw Jones-Shukoor on Pulitzer-nominated war-time play, ‘Selling Kabul'.

What happens when we see real events and meet well-known people on stage? Can the theatre shape our sense of our own history? Those questions are raised by a new Australian play called Sunday, featuring a knockout performance from Nikki Shiels as arts patron Sunday Reed. Also, we're joined by the writer of Sunday, Anthony Weigh, to discuss what responsibilities artists have to truth and accuracy in stories based on actual events, and we continue our discussion of Australian history and theatre with the writer of a new play inspired by the shocking true events that rendered an Australian town uninhabitable.

What happens when we see real events and meet well-known people on stage? Can the theatre shape our sense of our own history? Those questions are raised by a new Australian play called Sunday, featuring a knockout performance from Nikki Shiels as arts patron Sunday Reed.Also, we're joined by the writer of Sunday, Anthony Weigh, to discuss what responsibilities artists have to truth and accuracy in stories based on actual events, and we continue our discussion of Australian history and theatre with the writer of a new play inspired by the shocking true events that rendered an Australian town uninhabitable.

Sydney Festival's artistic director Olivia Ansell chats about what's in store for the immersive 2023 program in January; Bernard Caleo talks all things comic books for the Drawn Out segment; Ella Caldwell, artistic director of Red Stitch Actors' Theatre, runs through their 2023 season. With presenter Richard Watts.

For nail-biting drama and spectacular performances, many Australians head to a different kind of theatre: the footy field. Andrea Gibbs' debut play, Barracking for the Umpire, unites her passion for the arts and AFL and asks important questions about how much we sacrifice for the love of the game. Also, we speak with Patrick Livesy about Naomi, Patrick's one-person verbatim play about their mother's suicide and we head to Red Stitch to hear a panel discussion about change, activism and the arts as part of their season of Jeff Stetson's play The Meeting.

For nail-biting drama and spectacular performances, many Australians head to a different kind of theatre: the footy field. Andrea Gibbs' debut play, Barracking for the Umpire, unites her passion for the arts and AFL and asks important questions about how much we sacrifice for the love of the game. Also, we speak with Patrick Livesy about Naomi, Patrick's one-person verbatim play about their mother's suicide and we head to Red Stitch to hear a panel discussion about change, activism and the arts as part of their season of Jeff Stetson's play The Meeting.

For nail-biting drama and spectacular performances, many Australians head to a different kind of theatre: the footy field. Andrea Gibbs' debut play, Barracking for the Umpire, unites her passion for the arts and AFL and asks important questions about how much we sacrifice for the love of the game.  Also, we speak with Patrick Livesy about Naomi, Patrick's one-person verbatim play about their mother's suicide and we head to Red Stitch to hear a panel discussion about change, activism and the arts as part of their season of Jeff Stetson's play The Meeting.

In 2002, John Waters' brash and big-hearted musical comedy Hairspray was adapted for the Broadway stage. It won eight Tony Awards, including one for its director Jack O'Brien. Twenty years on, Jack is at the helm of a new revival here in Australia.Also, award-winning playwright Christopher Chen shares his Top Shelf ahead of the Australian premiere of his play Caught and theatre-maker Elnaz Sheshgelani transforms Hamlet using the ancient Persian performance style Naghali.

In 2002, John Waters' brash and big-hearted musical comedy Hairspray was adapted for the Broadway stage. It won eight Tony Awards, including one for its director Jack O'Brien. Twenty years on, Jack is at the helm of a new revival here in Australia. Also, award-winning playwright Christopher Chen shares his Top Shelf ahead of the Australian premiere of his play Caught and theatre-maker Elnaz Sheshgelani transforms Hamlet using the ancient Persian performance style Naghali.

Theatre First Episode 348Stream podcast episodes on demand from www.bitesz.com (mobile friendly).The Amateurs – (Red Stitch, Melbourne, Australia)One of the most bizarre plays I've seen. The amateurs is a tragic comedy from 2015 American Pulitzer prize finalist, Jordan Harrison. This is its Australian premiere while I can't claim to have liked it to say it's unusual is an understatement. A troop of mismatched medieval players make their way across Europe in a cart, desperate to outrun the plague, which has already claimed one of their number.For more details visit: https://www.redstitch.net/the-amateurs-2022 For more Theatre reviews from Alex, visit https://www.bitesz.com/show/theatre-first/ Subscribe, rate and review Theatre First at all good podcast apps, including Apple Podcasts, Spotify, Google Podcasts, Stitcher, Pocket Casts, CastBox.FM, Podbean, Spreaker etc.If you're enjoying Theatre First podcast, please share and tell your friends. Your support would be appreciated...thank you.Theatre First RSS feed: https://www.spreaker.com/show/4988589/episodes/feed For more podcasts visit our HQ at https://bitesz.com #podcast #theatre #stage #reviews #melbourne #australia #review #theamateurs #redstitch

Red Stitch Actors' Theatre has just 80 seats, but the company is acclaimed for their bold programming of the buzziest new work from abroad and for developing new Australian plays. Now in its 21st year, we meet their artistic director Ella Caldwell. Also, Kaitlin Tinker summons the strength of Alien heroine Ellen Ripley in her play about pregnancy and childbirth, Earthside, at the Blue Room, and we take a closer look at Hamlet with two high school students and members of the current Bell Shakespeare production.

Red Stitch Actors' Theatre has just 80 seats, but the company is acclaimed for their bold programming of the buzziest new work from abroad and for developing new Australian plays. Now in its 21st year, we meet their artistic director Ella Caldwell. Also, Kaitlin Tinker summons the strength of Alien heroine Ellen Ripley in her play about pregnancy and childbirth, Earthside, at the Blue Room, and we take a closer look at Hamlet with two high school students and members of the current Bell Shakespeare production.

Red Stitch Actors' Theatre has just 80 seats, but the company is acclaimed for their bold programming of the buzziest new work from abroad and for developing new Australian plays. Now in its 21st year, we meet their artistic director Ella Caldwell.Also, Kaitlin Tinker summons the strength of Alien heroine Ellen Ripley in her play about pregnancy and childbirth, Earthside, at the Blue Room, and we take a closer look at Hamlet with two high school students and members of the current Bell Shakespeare production.

Alanis Morissette's Jagged Little Pill is now a jukebox musical. But how has this achingly personal collection of songs been transformed into a show about an American family coming apart at the seams? We ask the show's Oscar and Tony-winning writer, Diablo Cody. Also, we meet American playwright Will Arbery. His play Heroes of the Fourth Turning, lauded across the political spectrum, portrays conservative Catholics arguing about religion and politics in a Wyoming backyard — characters familiar to the playwright himself.

Alanis Morissette's Jagged Little Pill is now a jukebox musical. But how has this achingly personal collection of songs been transformed into a show about an American family coming apart at the seams? We ask the show's Oscar and Tony-winning writer, Diablo Cody.Also, we meet American playwright Will Arbery. His play Heroes of the Fourth Turning, lauded across the political spectrum, portrays conservative Catholics arguing about religion and politics in a Wyoming backyard — characters familiar to the playwright himself.

Alanis Morissette's Jagged Little Pill is now a jukebox musical. But how has this achingly personal collection of songs been transformed into a show about an American family coming apart at the seams? We ask the show's Oscar and Tony-winning writer, Diablo Cody. Also, we meet American playwright Will Arbery. His play Heroes of the Fourth Turning, lauded across the political spectrum, portrays conservative Catholics arguing about religion and politics in a Wyoming backyard — characters familiar to the playwright himself.

Sam Strong is an award-winning theatre director and one of Australia's most successful and influential arts leaders. Sam is currently the Chair of Melbourne Fringe and was previously Chair of Circa. Sam has also been Artistic Director of Queensland Theatre and Griffin Theatre, Associate Artistic Director of the Melbourne Theatre Company, Literary Associate at Belvoir, and the founding dramaturg in residence at Red Stitch. Sam has directed productions for all Australian State Theatre Companies, Belvoir, Griffin and the Melbourne and Sydney Festivals. His next project is the world premiere stage adaptation of Trent Dalton's novel BOY SWALLOWS UNIVERSE. Email: rachellaurenbaker@outlook.com See omnystudio.com/listener for privacy information.

Sam Strong is an award-winning theatre director and one of Australia's most successful and influential arts leaders. Sam is currently the Chair of Melbourne Fringe and was previously Chair of Circa. Sam has also been Artistic Director of Queensland Theatre and Griffin Theatre, Associate Artistic Director of the Melbourne Theatre Company, Literary Associate at Belvoir, and the founding dramaturg in residence at Red Stitch. Sam has directed productions for all Australian State Theatre Companies, Belvoir, Griffin and the Melbourne and Sydney Festivals. His next project is the world premiere stage adaptation of Trent Dalton's novel BOY SWALLOWS UNIVERSE. Email: rachel@thehubstudio.com.au

Playwright Jen Silverman's play The Moors was done at Red Stitch in 2017 and Melbournites fell in love with her writing. Still brings more of her work to our stages... LEARN MORE The post Sarah Vickery – Still appeared first on Sunday Arts Magazine.

Simon Maiden was born in Ballarat. He is a graduate of the Western Australian Academy of Performing Arts (WAAPA) and has appeared in the feature films The Dressmaker, The Great Raid, Romulus My Father and The Killer Elite. Extensive television appearances have included Deadline Gallipoli (Winston Churchill), the telemovie Hawke (Sen. Graham Richardson) and featured roles in Jack Irish, Wentworth, Newton's Law, Tangle, Scorched, Bed of Roses, Winners and Losers, Dangerous Remedy, Satisfaction, Rush, City Homicide and The Doctor Blake Mysteries.An accomplished singer, songwriter and musician he possesses a chameleon-like voice that can mimic just about any accent and comfortably navigate across all styles. Such accomplishment was heard in the sci-fi thriller Upgrade, with Simon delivering the ominous vocals of ‘Stem'.His numerous theatre credits include A View From the Bridge and Last Man Standing for the Melbourne Theatre Company, Robots Vs Art with Tamarama Rock Surfers, Lamb and Reuben Guthrie for Red Stitch, Criminology and Love for the Malthouse Theatre, and Curtains for The Production Company.Presently he is touring the country in the extraordinary Come From Away; the musical that delivers an timely celebration of community and kindness. Simon plays the role of Oz and has received accolades as a member of the uber-talented ensemble who deliver the story so passionately at every performance. Simon discusses the show, his extensive career and more, in this joyous episode of STAGES.The STAGES podcast is available from Apple podcasts, Spotify and Whooshkaa. Also where you find your favourite podcasts. www.stagespodcast.com.au

British playwright Mark Ravenhill made a huge splash in the mid-90s with his first play, Shopping and F***ing. He's since become one of the most produced writers in the UK. His recent play The Cane is on now at Melbourne's Red Stitch.Also, what does it take for an Australian to make it on Broadway? We ask Carmel Dean, a composer and musical director who spent 20 years working on huge shows. And we pay tribute to the architect Viv Fraser, designer of some of Sydney's most iconic venues.

British playwright Mark Ravenhill made a huge splash in the mid-90s with his first play, Shopping and F***ing. He's since become one of the most produced writers in the UK. His recent play The Cane is on now at Melbourne's Red Stitch. Also, what does it take for an Australian to make it on Broadway? We ask Carmel Dean, a composer and musical director who spent 20 years working on huge shows. And we pay tribute to the architect Viv Fraser, designer of some of Sydney's most iconic venues.

British playwright Mark Ravenhill made a huge splash in the mid-90s with his first play, Shopping and F***ing. He's since become one of the most produced writers in the UK. His recent play The Cane is on now at Melbourne's Red Stitch. Also, what does it take for an Australian to make it on Broadway? We ask Carmel Dean, a composer and musical director who spent 20 years working on huge shows. And we pay tribute to the architect Viv Fraser, designer of some of Sydney's most iconic venues.

Today on the Take on Board podcast, Helga is speaking to Michelle Gibbings about her new book, Bad Boss and about the relationship between the board and CEO, between the CEO and their direct reports and organisational culture and leadership.You might remember Helga interviewed Michelle last year about one of her previous books Step Up: How to Build Your Influence at Work. Michelle has just released a further book called Bad Boss: what to do if you work for one, manage one or are one, which unsurprisingly, talks about relationships and culture. In this episode, Helga and Michelle how to deal with a ‘bad boss’ in the boardroom.Michelle is on the board of Arts Law, and she's previously been on the boards of 3MBS and Red Stitch. Michelle is a workplace expert. She is the author of three books, and is welcome on stages globally to help inspire leaders, teams and organisations to create successful workplaces.Her mantra is simple, help people thrive and progress is accelerated. And guess what, Michelle admits to, at one time in her career, being a bad boss. Contact Michelle or find out more about her:https://www.michellegibbings.com/Resources mentioned in this episode:Pre-order Michelle’s book Bad Boss: what to do if you work for one, manage one or are one here https://www.thebadboss.com.au/. So order a copy of the book before 27th August and get your hands on a whole heap of additional value.FOR MORE INFORMATION:Take on Board special event - 26th August: At this special Take on Board event, you'll hear from Linda White, Assistant National Secretary of the Australian Services Union, in conversation with Take on Board host Helga Svendsen about the union perspective on one of the largest corporate collapses in Australian history - Ansett Airlines, and more recently with the voluntary administration of Virgin Airlines. Whilst it's not a directly boardroom perspective, there'll undoubtedly be some great insights for board members (and possibly a few war-stories about it all too!).Register here https://www.trybooking.com/BKTQMJoin the Take on Board community: https://www.facebook.com/groups/TakeOnBoard/Follow along on Twitter: @TakeOnBoardFor more information about Helga Svendsen: https://www.helgasvendsen.com.au/Interested in working with Helga? https://www.helgasvendsen.com.au/workwithmeTo contact Helga: helga@helgasvendsen.com.au

Co-hosts Christian and Michael are joined via telephone by actor Matthew Whitty, who is performing in Red Stitch's production of Oil. Oil is performing at the Cromwell Road Theatre until December 15th. For more information, head to the official Red Stitch website. Segment originally aired Wednesday, November 20th. Produced by Tom Parry.  

With the yuletide season drawing near, a live radio play version of the 1946 Christmas film It's a Wonderful Life will be staged in Perth, theatre producer and columnist Richard Jordan discusses the emerging transfer hubs for new theatre in New York and London, Fiona Blair reviews the Australian premiere of Oil by British playwright Ella Hickson, Leith McPherson leads us through some vocal warm-ups to get mouths moving and tongues twisting, and the Women's Circus stage their triennial large-scale production: The Drill.

With the yuletide season drawing near, a live radio play version of the 1946 Christmas film It's a Wonderful Life will be staged in Perth, theatre producer and columnist Richard Jordan discusses the emerging transfer hubs for new theatre in New York and London, Fiona Blair reviews the Australian premiere of Oil by British playwright Ella Hickson, Leith McPherson leads us through some vocal warm-ups to get mouths moving and tongues twisting, and the Women's Circus stage their triennial large-scale production: The Drill.

7:00 Acknowledgement of country7: 05 Alice and I chat about Tell it like it is, an interactive forum on First Nations hip hop celebrating the First Nations people's voice and featuring acclaimed artists Munkimuk, Oetha, Neil Morris, Philly and special guests. Arts Centre Melbourne, Oct 31st 7:15 Peter Miller from Deakin University on ex-parliamentarians lobbying for multinational alcohol and gambling companies and Senator Rex Patrick's concerns about former Defence Minister Christopher Pyne becoming a consultant for EY to assist expansion of their defence business. 7:30 SlutWalk Melbourne: Alice chats with Mev Taylor about Slutoween, the fundraiser held on the weekend and Slutwalk coming up in November16th. 7:45 Denis Muller from the University of Melbourne discusses the history of media suppression in Australia and what we might expect from the two parliamentary inquiries into press freedom. 8:00 Daniel James, Yorta Yorta man, freelance writer and social justice advocate, joined us in the studio to talk about the dire situation of Aboriginal young peoples in remote communities on Newstart allowance drawing on research by Jon Altman and Francis Markham. Daniel won the Horne Prize in 2018 for his essay Ten More Days. 8:15 Julian Meyrick, director of Control currently playing at Red Stitch Actors Theatre, calls in to tell us about the play by Keziah Warner, developed through Red Stitch’s INK program. MusicArtist                         SongOetha                        CruisinDRMNG Now            Aboriginal LandByrdz                         Black Lives Matter

We hear music from The Ghetto Cabaret which follows a group of Jewish performers living in horrific conditions in the ghettos of WWII, Marcia Hines and John Waters recall when Hair, the "American Tribal Love-Rock Musical", brought controversy, excitement and the promise of revolution to Australia, and British playwright Alistair McDowall shares the works that have most inspired his journey as an artist in Top Shelf.

We hear music from The Ghetto Cabaret which follows a group of Jewish performers living in horrific conditions in the ghettos of WWII, Marcia Hines and John Waters recall when Hair, the "American Tribal Love-Rock Musical", brought controversy, excitement and the promise of revolution to Australia, and British playwright Alistair McDowall shares the works that have most inspired his journey as an artist in Top Shelf.

Acclaimed Australian playwright Patricia Cornelius has been awarded the Windham-Campbell Prize for drama, US playwright Clare Barron's Dance Nation follows a group of teens in the throes of adolescence finding their place in a hyper-sexualised and competitive world of dance, and we speak with playwright and performer Nakkiah Lui about her new satirical play at the Sydney Theatre Company — How to Rule the World.

It's summer! The gang bring you all summer related goods including how to be a Badass by Tash York at The Butterfly Club and Suddenly Last Summer by Little Ones Theatre at Red Stitch. During intermission we discuss the mini-series Waco and King Lear via National Theatre Live. Coming soon heralds Midsumma - top picks include Merciless Gods, The Legend of Queen Kong Ep II + The Homosapiens. Also there is Christian Marclay's 24 hour video piece The Clock at ACMI and MON FOMA, Sydney Festival.

Jane Bodie's new play Lamb about a sheep farming family features new songs by Mark Seymour, we travel around the country to find out what to circle on your 2019 performing arts calendar, globetrotting theatre commentator Richard Jordan discusses the big Broadway and West End news, and we meet Nigel Poulton — one of Australia's best regarded fight directors.

Sunday 19th August. Dwight and Tom talk to Dylan Watson about the show 'Love Song' and how the play differs from other plays about love.

Australian pianist Barney McAll's arrangements of Doris Akers' gospel songs feature at this year's Melbourne International Jazz Festival. Playwright Joanna Murray-Smith's Fury comes to the Red Stitch Actors' Theatre.

Natalie Gamsu stars as the fictional love child of Frida Kahlo and Leon Trotsky in Carmen, Live or Dead, Belvoir's Eamon Flack adapts a Russian classic in his play Sami in Paradise, actors with disabilities Scott Price, Erin Kyan and Emma J Hawkins fight for inclusion, and Red Stitch stage the Australian premiere of French Canadian comedic thriller Right Now.

This month the gang talk cycling in Melbourne, Queer Eye, Philip finds out what MAFS means and all our MQFF and Comedy Festival tips. But more importantly our shows for this month are Taylor Mac's Hir at Red Stitch and Good Muslim Boy at the Malthouse.

Stream episodes on demand from www.bitesz.com (mobile friendly). American Song By Joanna Murray-Smith Directed by Tom Healey Australian Premiere 3 October – 5 November (previews 3 – 6 October) Featuring Joe Petruzzi Set and Costume Design Darryl Cordell Lighting Design Bronwyn Pringle Sound Design Patrick Cronin Dialect Coach Anna McCrossin-Owen Stage Manager Alyssa Hall Assistant Stage Manager Kelly Ziccone “What happened to Whitman’s America? There is no unified song. There is no harmony of voices.” Andy’s experience is common to many of us; the slow accumulation of a good life: love, work, friendship, family. But unforeseen events lead him to places he never imagined… Can we ever know the exact moment when a good life turns irredeemably wrong? As Andy heads off to work to give the biggest presentation of his career, he wishes his teenage son Robbie goodbye. Eight hours later, everything has changed. A profound tour-de-force for one actor, played by Red Stitch ensemble member Joe Petruzzi, American Song is an intimate exploration of parenting, love, and the question: What could I have done differently? For more visit: https://redstitch.net/gallery/american-song/ Theatre First RSS feed: https://audioboom.com/channels/4839371.rss Subscribe, rate and review Movies First at all good podcatcher apps, including Apple Podcasts (formerly iTunes), Stitcher, Pocket Casts, audioBoom, CastBox.fm, Podbean, Spreaker 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 Learn more about your ad choices. Visit megaphone.fm/adchoices See acast.com/privacy for privacy and opt-out information.

One company, two productions and a special guest! In this queer episode of Across the Aisle, Carla and Philip attend "The Moors" at Red Stitch and "Merciless Gods" at Northcote Town Hall, considering the work of Little Ones Theatre across two sites. Podcast supporter Wesa Chau joins them at intermission to share her insights, and the guide to Melbourne Fringe is riffled.

Hosts Lucy and Will chat with:Kylie Troy-West of Victoria Street Drug Solutions (VSDS) about the overdose situation in Richmond and VSDS advocacy for the trial of a Medically Supervised Injection Centre Raoul Wainwright, Manager of Policy and Communications of the Victorian Public Tenants Association (VPTA) for their reaction to recent developments in public housing, including the Victorian Government taskforce investigating the use of flammable aluminium cladding in Vic public housingAurora, Human Rights Campaigner at GetUp about the upcoming vigil for refugees and asylum seekers happening 19 JulyElla Caldwell, founding member Red Stitch Actors Theatre about the coming show INCOGNITOMusic has been removed for copyright reasons.

Silvi, Ben and Christina chat to actor Dion Mills about Red Stitch and Little Ones Theatre's production of The Moors, playing at Rear 2 Chapel St, St Kilda East until July 9.See omnystudio.com/listener for privacy information.

Today's podcast starts with an 'Art Attack!' from Ace and Tai. This fortnight's top exhibition is Claire Lambe'sMother Holding Something Horrific, a sculpture and mixed media exhibition at ACCA.Next up isPaul Capsis in the Broadway classicCabaret. Paul and Richard discuss the new production and its development, cast and crew and the relevance of this dark musical to contemporary society.Red Stitch's latest production is Will Eno's The Realistic Joneses, and directorJulian Meyrick and actorElla Caldwelljoin Richard in the studio to talk about the themes of the show, Red Stitch's 2017 season and the theatre scene in Australia.

Red Stitch continues their environmentalist theme for the season in Extinction, written by the powerhouse creative talent Hannie Rayson and directed by the critically acclaimed Nadia Tass. On the International Union for Conservation of Nature and natural resources red list (IUCN), Australia is classed as having 35 of its discovered species extinct. The fraught task of resolving this issue, beneath the ever present spectre of national and international environmental strife, is the primary concern of the performance. Harry Jewel, played by Colin Lane, is a mining magnate turned mild environmental altruist after hitting and killing an endangered quoll in his four wheel drive. He is the political foil for Andy Dixon-Brown, played by Brett Cousins, a practical yet idealistic man and practising veterinarian who holds the natural world sacrosanct, and is suffering from a terminal illness akin to Parkinson's. Dix, played by Natasha Herbert, is the director of the CAPE institute and Andy's 50 year old sister. She leans pragmatically towards Harry Jewell's camp, and is passionate about establishing an objective, statistics based approach to the rescue of endangered species - essentially, that if the species numbers drop below 5000, then they're not worth the expense, financially and to the detriment of other species who might still have a chance.  Piper, played by Ngaire Dawn Fair, a  conservation biologist, is her opposite number, the sexy young idealist, who firmly and energetically believes everything can be saved, from her cancerous 12 year old dog Beast to the terminally endangered tiger quoll. Whether or not the fact of Australian eco-apocalypse is high on your list of immediate concerns, this play is going to put your value system under pressure. In the hour and a half, you will be forced to take a stance somewhere on the slippery, uneven ground of environmental politics, and the moral nuances of the current Australian environmental crisis. The cast tackle many obstacles in their struggle to come to terms with how best to address the situation of a changing country, a changing world, which seems to be gathering momentum on its plummet toward an environmental apocalypse. Yet this is play is flawed. I do not believe that it conquered the classic perils of the polemic political play, awkwardly failing to be compelling, engaging and subtle as it is so keenly self aware of its own highly political agenda. It felt as if the dramatic relationships between the four characters had been loosely cobbled together to forge a thin veil for what is really just a tedious outlining of all the different arguments currently dominating the environmental debate.  The characters attempted to convince us of their humanity - mainly via loose plotlines focusing on the shifting sexual (read 'human') dynamics between the group - before switching comfortably back into parroting some lukewarm political sentiments that, delivered with no lack of passion or pathos from the actors. For me, this marriage of the general arguments surrounding the issue of environmentalism and the earnest, chest-beating noble-oratory aphoristic style of the dialogue did not make compelling theatre. Which is unfortunate, as the cast is not short of talent. Colin Lane showed some classic comedic timing, of which there really should have been more - there are plenty of jokes scattered around the play, and some good, funny, horribly awkward situations. Although the humour of the play is poorly executed, but it is still there, and I could appreciate what was trying to be achieved. However for some reason there seems to be a total lack of chemistry between them - the relationships that are put at stake in the performance never matter to the audience, because they are never made to matter. Their ostensibly significant motivations of family or love are just thrown in by name and barebones behavioural reference, without ever proving to the audience that these relationships are valuable. Furthermore, the set is fraught with a multimedia program that starts as an interesting novelty and is halfway abandoned by the mid section, that became more distraction than enhancement. I was disappointed, as the beginning of the play uses music, sound effects and film in a way I found highly moving - the script says it all: 'Introduce the sound of the quoll’s heartbeat softly. This underscores the action to the end of the scene'. There was a profound silence in the audience as the heartbeat that had been present for the last ten minutes, the heartbeat we had all wanted to continue, halted as the lethal injection was given to the badly wounded quoll. The final scene of the play, where Piper finally confronts Andy, I found a confusing mess, both in clichéd language and melodramatic behaviour, to a degree worthy of The Bold and the Beautiful, not helped by a soppy pop-score playing over the projection of a quoll scurrying around in the bush, thus restoring balance and hope to the universe. This play attempts to do so much and in my opinion, therein lies it's problem. There is no steady theme, there is no likeable character. Everyone is flawed and nobody is redeemed. The penultimate scene of the play had audience members around me sighing, or even laughing, at a scene not meant to be funny, it was so unconvincing. And frankly, I don't know exactly where to lay the blame, where everything went so wrong. Was it the writer delivering clichéd dialogue, normative, predictable plotlines and a thematic fiasco? Did the director micromanage the actors into robots? Have the actors failed the script? Either way - decide for yourself.  Extinction is showing at the Arts Centre every day until the 13th of August. Head over to artscentremelbourne.com.au for more information and bookings. Written by Jim Thomas

Red Stitch continues their environmentalist theme for the season in Extinction, written by the powerhouse creative talent Hannie Rayson and directed by the critically acclaimed Nadia Tass. On the International Union for Conservation of Nature and natural resources red list (IUCN), Australia is classed as having 35 of its discovered species extinct. The fraught task of resolving this issue, beneath the ever present spectre of national and international environmental strife, is the primary concern of the performance. Harry Jewel, played by Colin Lane, is a mining magnate turned mild environmental altruist after hitting and killing an endangered quoll in his four wheel drive. He is the political foil for Andy Dixon-Brown, played by Brett Cousins, a practical yet idealistic man and practising veterinarian who holds the natural world sacrosanct, and is suffering from a terminal illness akin to Parkinson's. Dix, played by Natasha Herbert, is the director of the CAPE institute and Andy's 50 year old sister. She leans pragmatically towards Harry Jewell's camp, and is passionate about establishing an objective, statistics based approach to the rescue of endangered species - essentially, that if the species numbers drop below 5000, then they're not worth the expense, financially and to the detriment of other species who might still have a chance. Piper, played by Ngaire Dawn Fair, a conservation biologist, is her opposite number, the sexy young idealist, who firmly and energetically believes everything can be saved, from her cancerous 12 year old dog Beast to the terminally endangered tiger quoll. Whether or not the fact of Australian eco-apocalypse is high on your list of immediate concerns, this play is going to put your value system under pressure. In the hour and a half, you will be forced to take a stance somewhere on the slippery, uneven ground of environmental politics, and the moral nuances of the current Australian environmental crisis. The cast tackle many obstacles in their struggle to come to terms with how best to address the situation of a changing country, a changing world, which seems to be gathering momentum on its plummet toward an environmental apocalypse. Yet this is play is flawed. I do not believe that it conquered the classic perils of the polemic political play, awkwardly failing to be compelling, engaging and subtle as it is so keenly self aware of its own highly political agenda. It felt as if the dramatic relationships between the four characters had been loosely cobbled together to forge a thin veil for what is really just a tedious outlining of all the different arguments currently dominating the environmental debate. The characters attempted to convince us of their humanity - mainly via loose plotlines focusing on the shifting sexual (read 'human') dynamics between the group - before switching comfortably back into parroting some lukewarm political sentiments that, delivered with no lack of passion or pathos from the actors. For me, this marriage of the general arguments surrounding the issue of environmentalism and the earnest, chest-beating noble-oratory aphoristic style of the dialogue did not make compelling theatre. Which is unfortunate, as the cast is not short of talent. Colin Lane showed some classic comedic timing, of which there really should have been more - there are plenty of jokes scattered around the play, and some good, funny, horribly awkward situations. Although the humour of the play is poorly executed, but it is still there, and I could appreciate what was trying to be achieved. However for some reason there seems to be a total lack of chemistry between them - the relationships that are put at stake in the performance never matter to the audience, because they are never made to matter. Their ostensibly significant motivations of family or love are just thrown in by name and barebones behavioural reference, without ever proving to the audience that these relationships are valuable. Furthermore, the set is fraught with a multimedia program that starts as an interesting novelty and is halfway abandoned by the mid section, that became more distraction than enhancement. I was disappointed, as the beginning of the play uses music, sound effects and film in a way I found highly moving - the script says it all: 'Introduce the sound of the quoll’s heartbeat softly. This underscores the action to the end of the scene'. There was a profound silence in the audience as the heartbeat that had been present for the last ten minutes, the heartbeat we had all wanted to continue, halted as the lethal injection was given to the badly wounded quoll. The final scene of the play, where Piper finally confronts Andy, I found a confusing mess, both in clichéd language and melodramatic behaviour, to a degree worthy of The Bold and the Beautiful, not helped by a soppy pop-score playing over the projection of a quoll scurrying around in the bush, thus restoring balance and hope to the universe. This play attempts to do so much and in my opinion, therein lies it's problem. There is no steady theme, there is no likeable character. Everyone is flawed and nobody is redeemed. The penultimate scene of the play had audience members around me sighing, or even laughing, at a scene not meant to be funny, it was so unconvincing. And frankly, I don't know exactly where to lay the blame, where everything went so wrong. Was it the writer delivering clichéd dialogue, normative, predictable plotlines and a thematic fiasco? Did the director micromanage the actors into robots? Have the actors failed the script? Either way - decide for yourself. Extinction is showing at the Arts Centre every day until the 13th of August. Head over to artscentremelbourne.com.au for more information and bookings. Written by Jim ThomasSee omnystudio.com/listener for privacy information.

Hosts Christian and Jonathan were joined on the line with actor CHRISTOPHER BROWN (playing the role of DARYL) from Red Stitch's world premiere production of The Honey Bees. The Honey Bees is being performed on 14 June – 16 July, Red Stitch Actors Theatre Rear 2 Chapel Street St Kilda East. Photo credit: Jodie Hutchinson - featuring Marta Kaczmarek and Christopher BrownSee omnystudio.com/listener for privacy information.

Hosts Christian and Jonathan were joined on the line with actor CHRISTOPHER BROWN (playing the role of DARYL) from Red Stitch's world premiere production of The Honey Bees.  The Honey Bees is being performed on 14 June – 16 July, Red Stitch Actors Theatre Rear 2 Chapel Street St Kilda East. Photo credit: Jodie Hutchinson - featuring Marta Kaczmarek and Christopher Brown

On this week's podcast Lachlann Carter comes in to talk about Christopher Schwatz's "The Anarchist's Design Book" and modern day woodwork. Writer Caleb Lewis and Director Ella Calwell from Red Stitch discuss their play "The Honey Bees" and the state of the World's bee colonies.The Breakfasters take calls about the ridiculous lies kids tell and a chat to music video and documentary filmmaker Nigel Dick ahead of a screening of his film "Berlin Calling".

We discuss Detroit written by Lisa D'Amour and produced by Red Stitch Actors Theatre. We also cover Sophocles' Antigone adapted by Jane Montgomery Griffiths and produced by Malthouse Theatre.

Tamara and Jasyn are in love. Jasyn wants to take Tamara to the formal, but he hasn’t got the cash. And in a world of absent mothers and distant fathers, Miss Petchall battles to keep another year of students out of the ranks of the vanished. Tamara and Jasyn soon come to realise just how hard it can be to find your own rhythm when everyone is marching to the beat of a different drum.--Lachlan Philpott is a playwright, director and teacher. He graduated from the University of New South Wales, The Victorian College of the Arts and NIDA’s Playwrights Studio. He has previously been Artistic Director of Tantrum Theatre in Newcastle, writer-in-residence at Red Stitch in Melbourne and the Literary Associate at ATYP. His plays have been performed across Australia as well as Ireland, the UK and the USA. They include Air Torture, Bison, Bustown, Catapult, Colder, Due Monday, Running Under the Sprinkler and Truck Stop.