Podcasts about Red Stitch Actors Theatre

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.

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.

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.

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.

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.

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.

Rosie and I met a few years ago on an acting job and we've been following each other's journey's ever since. I was taken aback with what she shared about her creative journey and her time in the theatre, to her experiences and her relationship with finding her voice. Rosie Lockhart is an Actor, Interior Designer & Conscious Entrepreneur.  She lives in Melbourne with her partner & cat-child, Luna.In this episode we discuss: How to free yourself from the societal pressures when you're a creativeHer journey with dance and singing and overcoming loss of confidence Moving through traumatic creative experiences in performancesHer creative process working at the Red Stitch Theatre CompanyHow to redefine & gain perspective on what the true dream is vs what the mind wantsHow to give yourself permission to put yourself out there The difference between being an introvert vs an extrovertAnd more! This conversation has a lot of depth, laughter and inspiring messages.About Rosie: A graduate of the Victorian College of the Arts (2012), Rosie was an Ensemblemember of acclaimed Red Stitch Actors Theatre from 2013 to 2016. She has a BA (Media & Communications) from The University of Sydney and also completed The Actor, part time at NIDA. Born and raised in Tamworth NSW, Rosie is a classically trained singer, composing original work for performance. Television credits include Offspring, Winners & Losers and numerous corporate & commercial campaigns.We hope you enjoy listening and would love to hear from you after you've listened with what resonated for you. Follow Rosie on Instagram: @rosielockhartSupport the show

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 the Melbourne Fringe and was previously Chair of Circa. Sam has also been Artistic Director and CEO 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 Actors’ Theatre. As a director of theatre, Sam has created productions for all Australian State Theatre Companies and the Melbourne and Sydney Festivals. His directing credits include EMERALD CITY, JASPER JONES, TWELFTH NIGHT, Working Dog’s THE SPEECHMAKER, PRIVATE LIVES, LES LIASONS DANGEROUS, and THE BOYS. Sam has won Best Direction of a Mainstage Production at the Sydney Theatre Awards and has received multiple Best Director and Best Production nominations at the Sydney Theatre Awards, the Green Room Awards, and the Helpmann Awards. Sam’s next project is the world premiere stage adaptation of Trent Dalton’s novel BOY SWALLOWS UNIVERSE. In this episode: We talk about the now and how we will potentially work in a post-COVID universe. We discuss who we make work for and how we might do that moving forward. We talk about the importance of audience and the live experience. We discuss the adjustment of our rhythms as creatives when there is currently no deadline to work to and what might come next in how we create new work and so much more!  

Alex and Nick host alongside Scriptd a live table read of JB June's WyldCats, the pilot script from one of their listeners. A great cast of talented actors joins us to bring to life this animated episode, followed by a live Q&A and a feedback session with the writer. WyldCats is a satirical animation in a world where a retired ThunderCats-like team of feline warriors reunite in an attempt to battle evil in a modern, technological society. Content WyldCats live table read (00:00:39) Live Q&A (00:52:06) Table read post-mortem and WyldCats feedback session (00:57:12) Links WyldCats pilot script on Scriptd JB June on Twitter Paper Tease episode with WyldCats' teaser About Scriptd Scriptd is a new storytelling platform that connects talented writers with fans and the industry to help find, promote and actualize film and TV's next big scripts. You can join them at https://www.scriptd.com About the Cast Justin Michael Terry (@JustinTheWalls) - Justin Michael Terry is an award winning writer and improviser based out of Los Angeles. He has developed projects for CRYPT.TV, MGM and NEWFORM Digital. With his writing partner, Ryan Marsico, he has developed for MGM and Orion Pictures as well as toured locally and internationally, teaching and performing with their duo improv group, redDoor. Jona Xiao (@JonaXiao) - Jona Xiao has been in over 25+ TV shows and films, including Gifted with Chris Evans and Keeping up with the Joneses with Gal Gadot. In addition, she has voiced lead roles in projects with Disney and Netflix. Fun fact: she is also a flag football quarterback and travels the world on the WFFN USA team. Ryan Marsico (@RyanMarsico) - After graduating FSC with a BA in Acting, Ryan quickly moved to LA to continue his studies. He makes his living teaching, performing, and writing; often with his improv/writing partner in their critically acclaimed duo "redDoor" or he can be seen performing in 'The Resistance' at UCB. His genuine love for comedy, storytelling, and life can be felt not just in his projects, but in everything he does. He currently resides in Los Angeles, CA with his loving wife Carol and their two dogs Prock and Shelpert. Amanda Noriko Newman (@AmandaNoriko) - Amanda Noriko Newman is a Japanese-American actress, writer, director, and fight choreographer. She is an active performer with The Murder Mystery Company and can currently be seen as Benvolio in Romeo and Juliet with The Porters of Hellsgate. Andrew Krug (@OctopusTotem) - Andrew Krug works in voice, stage, and screen. He can be heard on the D&D podcast Encounter Party, Olympus Burger, and the upcoming audio drama Terminal. Ben Prenderghast (@BenjiPea) - Ben Prendergast is an award-winning actor, voice artist, and mocap performer based in Los Angeles. In 2016 he was awarded a Green-Room Award for Best Actor. Film & TV credits include Preacher (AMC), Predestination (with Ethan Hawke), Frontier (NBC), Offspring and Miss Fishers Murder Mysteries. Theatre credits include The Distance for Melbourne Theatre Company, The Flick (Annie Baker – Pulitzer Prize) for Queensland Theatre Company, and numerous productions for the prestigious Red Stitch Actors Theatre, where he is an ensemble member. Stephanie Einstein (@Steph_Einstein) - Based in Los Angeles, Actress and VO artist Stephanie Einstein works on stage, screen, and behind the mic. Recent TV credits include roles on ABC's black•ish and Lifetime's My Crazy Ex. Recent stage credits include Madge in Picnic, Catherine in Proof, and Hermia in Midsummer Night’s Dream. She is a proud Company Member of The Road Theatre in North Hollywood, has narrated over 80 book titles on Audible, and voices international promos and commercials. If you enjoy Paper Team, please consider supporting us on Patreon at paperteam.co/patreon! :) You can find Paper Team on Twitter: Alex - @TVCalling Nick - @_njwatson For any questions, comments or feedback, you can e-mail us: ask@paperteam.co

Welcome to the St Kilda Talks Podcast December show. I am Greg Day your host and creator of the This Week in St Kilda newsletter, a list of arts, music and community events in St Kilda.This month we have a triple A guest list … that’s actor, activists and authors. Just what you’d expect in St Kilda.You'll meet Peter McEwen from the Pride Centre Board for an insight into the progress so far for this exciting development for Fitzroy Street.We chat to Brett Cousins from Red Stitch Actors Theatre about Oil, their epic current production, and their 2020 playlist.We also meet author Dave Willis whose fascination with the rich history of St Kilda has prompted his latest book, A Guide to Historic St Kilda.Our face in the crowd this month Karen Sait, from Port Phillip Community Group.Our surprise co-host this month is Carmel Shute, comrade, rabble rouser and definitely a woman with a fantastic database.

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

Theatre First Episode 240Control (Red Stitch Actors Theatre)“We keep your memories safe, so you don’t have to.”A heavily pregnant ex-ballerina, a child detective, a bitter puppeteer and a feminist pop princess hurtle towards Mars. The world is watching. Isn’t it?On the eve of a revolution, Nicki and Caroline attempt to gain control over their lives as their A.I. superior, Alex, dances the night away.And on New Earth, Esta & Isabelle forge hope through a new kind of relationship.Told across several decades, from Melbourne to Mars, Keziah Warner’s startling, provocative and funny new play explores humanity’s desire to dictate how we’re perceived by others. Control delves deep into our relationship with technology: the moral ambiguities, the dependencies, the possibilities…For more information visit https://redstitch.net/gallery/control/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 #control #redstitchtheatre #redstitch  Learn more about your ad choices. Visit megaphone.fm/adchoices See acast.com/privacy for privacy and opt-out information.

Today on the Take on Board podcast, Helga interviews Michelle Gibbings.Michelle is a change leadership and career expert. She's the author of Step Up - How to Build your Influence at Work and Career Leap - How to Reinvent and Liberate Your Career. Michelle is obsessed with unlocking high impact choices to accelerate meaningful progress. She's enabling a new breed of leader one that's fit for the future of work.As a highly sought after speaker and facilitator, Michelle works with leading edge organizations to optimize outcomes by building the capability, capacity and conviction of their leaders to lead.She works with some of Australia's most respected organizations including ANZ, Cole's, Orica, John Holland, ME Bank, and Telstra, along with government departments and agencies.She's a graduate of the Australian Institute of Company Directors, an alumnus of Leadership Victoria's Williamson Community Leadership Program, and she regularly appears and writes for major national publications and media outlets.Michelle is a director of the Arts Law Centre, and a former non executive director and company secretary at Red Stitch Actors Theatre and 3MBS - FM.Michelle’s literally written the book about influence and she shares what it takes to gain influence and use it for good in her chat with Helga.Boards Michelle is on:Arts Law Centre: https://www.artslaw.com.au/Contact Michelle or find out more about her: https://www.linkedin.com/in/michellegibbings/ or https://www.michellegibbings.com/Resources Michelle mentions: True North by Bill GeorgeBlinkist - https://www.blinkist.com/And Michelle was too modest to mention her books, so here they are:Step Up - How to Build your Influence at Work - Michelle GibbingsCareer Leap - How to Reinvent and Liberate Your Career - Michelle GibbingsFOR MORE INFORMATION:Join 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

Stream podcast episodes on demand from www.bitesz.com (mobile friendly).Theatre First Episode 233Ulster American (Red Stitch Actors Theatre, Melbourne, Australia)A searing comedy on show business post-#MeToo that brilliantly captures the confusion of ‘woke’ men trying to mansplain their positions of power.A talented young female writer, an A-list actor and an ambitious West End director meet to discuss the most important new play of the decade – if they can only agree on what it’s about! Fragile egos, the fault lines of modern politics and the all-pervasive power of Hollywood threatens to derail the whole project.For more information visit https://redstitch.net/gallery/ulster-american/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 #ulsteramerican  Learn more about your ad choices. Visit megaphone.fm/adchoices See acast.com/privacy for privacy and opt-out information.

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.

Stream podcast episodes on demand from www.bitesz.com (mobile friendly).Theatre First Episode 198Escaped Alone (Red Stitch Actors Theatre, Melbourne, Australia) (review)A sun-drenched suburban backyard, four older women: Vi, Sally and Lena and the visiting Mrs Jarrett reflect on their lives over the course of many summers together. A mariticide, an ailurophobe, a shut-in and a sometime lollypop lady. The years run into each other and the recollections take on a strangely unsettling tone as the neighbourly Mrs J takes turns as both narrator, and bizarre, cryptic chronicler of doom.Churchill’s fantastical evocation of the mundane teetering on the edge of the apocalypse is at once a linguistic joy ride, a car crash and a theatrical marvel.For more information visit  https://chapeloffchapel.com.au/show/ghosted/ 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 Learn more about your ad choices. Visit megaphone.fm/adchoices See acast.com/privacy for privacy and opt-out information.

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.

Stream podcast episodes on demand from www.bitesz.com (mobile friendly).Suddenly Last Summer (Red Stitch Actors Theatre)Savagely poetic and provocative, Tennessee Williams’ Suddenly Last Summer is a nightmarish contemporary masterpiece.This is Sebastian’s garden, a place where the line between truth and lies, sanity and insanity are blurred. Welcome to the eerie Garden District, filled with Venus flytraps, subversive secrets, and broken hearts.The only son of wealthy widow Violet Venable, Sebastian, has died while on vacation with his rebellious cousin Catharine. What the girl saw that day last summer was so horrible that she is presumed mad and locked away in an asylum to keep her mouth shut.As time goes on, Catharine’s ravings about Sebastian’s sexuality and fate become so transgressive that his dear mother Violet decides that locking her away isn’t enough. She calls in an aspirational young Doctor to have the girl lobotomised and cut out her hideous story for good.A thrilling examination of legacy, sanity, and sexuality, this Southern gothic melodrama will cut straight through the heart with its visceral imagery and erotically charged symbolismFor more information visit https://redstitch.net/gallery/suddenly-last-summer/ Theatre First RSS feed:   https://feeds.megaphone.fm/ivetheatrereviews Subscribe, rate and review Theatre First at all good podcatcher apps, including Apple Podcasts (formerly iTunes), Stitcher, Pocket Casts, audioBoom, CastBox.FM, Podbean 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.

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.

Annie’s career in the arts spans across a diversity of roles including educator, marketing manager, producer and administrator. After completing a degree in performing arts, she received her Master of Arts & Entertainment Management. Annie is currently the General Manager at Malthouse Theatre. Previous roles include Executive Administrator at Melbourne Theatre Company, Marketing & Communications Manager at Red Stitch Actors’ Theatre and Marketing Coordinator at Melbourne Fringe. Annie is also an independent producer, championing female artists through her company Hot Mess Productions, and an Executive Member of the Green Room Awards Association.    In this episode: We chat about the love and dislike about the role of producer.  Defining who work with and what genre you work in.    The importance of communication between producer and artist and then a brilliant discussion about marketing.  What you need to budget, what content you should be putting out there for your show.  We also talk about the importance of batching your work and have some kind of “work/life/balance.”

Conservation Ecologist and Director of theThreatened Species Recovery Hub,ProfessorBrendan Wintlediscussed Australias major impending bird and mammal extinctions and what we must do about it; Author Fiona Harari chatted about her new book,We Are Here: Talking with Australias Oldest Holocaust Survivors; Actor Mark Wilson and Director Katy Maudlin discussed their playRight Now,which is showing at Red Stitch Actors Theatre until20th May; plus,New Matilda'sNational Affairs correspondent Ben Eltham delivers the weekly politics wrap.

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.

Christian interviews the playwright of American Song, playing at Red Stitch Actors Theatre in St Kilda East until November 5.

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.

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.

The Honey Bees is a stage play written by veteran playwright Caleb Lewis and directed by Ella Caldwell, starring Eva Seymour, Christopher Brown, Rebecca Bower, Mara (Kat-Marek) Kaczmarek and Katerina Kotsonis. It is now showing at Red Stitch Theatre on Chapel Street in St Kilda's East, and is running until the 16th of July. Caleb Lewis' gradually and masterfully details his characters in a dexterous juggling of intersecting plotlines and overlapping relationships. His writing is enhanced by the strong direction of Caldwell, who proves to be a master of the long pause, drawing silences between characters out to a length just long enough to be painful and not tedious, creating an atmosphere of tension from the first interactions of the play. At the centre of the drama is Joan, a bitter yet charming Polish immigrant, both bee-keeper and now elderly mother, who rules her long standing (yet struggling) apiary with an iron will. Daryl is her estranged, middle aged son, vulnerable and ambitious, living in his dead fathers shadow. His younger sister, Clover, remains inert in a life resigned to helping her mother with the apiary in placeof her own ambitions as an artist. Kerry, Joan's employee and Clover's lover, is a gruff, tough farmhand who dreams of leaving the apiary - a place she perceives full of broken dreams and stagnant lives - and eloping for the city with Clover. And finally, there is the mysterious Melissa, a teenager from Sydney who enters explosively into this already strained dynamic. She proves to be the moody and abused catalyst for change and highly charged drama. A void at the heart of every character is left by the long dead but seemingly omnipresent spectre of Harry, Joan's husband, and the father of Daryl and Clover, who's actions in life prove to be the impetus for much of the desperate love and hate in the play Desperate is the key word to unlocking much at the heart of the performance, and is highlighted in a quote from Clover: Quote: ' A bee might fly over 800km in their life, and only ever produce less than a teaspoonful of Honey' End quote To a honey bee, this might be a fine achievement, but to a human audience, this fact sounds unbearably pitiable. So much hard work produces such a meagre teaspoon of positive creation. And indeed, like the struggling honeybee, all the characters have their own vast, lifelong journeys, riddled with resentment, abuse, sacrifice and lies, for such minuscule moments of sweet honey and happiness. The play seems to stress that there is only a teaspoonful of sweetness to life at times, a point emphasised in a devastating fashion by the countless tragedies realised throughout the performance, which ultimately bares the ugly truths that lurk hidden within the infinitely subtle and complex relationships that human beings invariably encounter. The set design is economic and well utilised, with strong unity between lighting and audio creating powerful atmospheres that were compelling and engaging. Furthermore, there are strong performances by the cast all round, but the standout performance is by Marta Kaczmarek as Joan - a powerful tour de force worthy of the award winning actress. You can get tickets to a performance of The Honey Bees at redstitch.net/honeybees. Once again, it is running until the 16th of July. Review written by Jim Thomas Photo credit: Jodie Hutchinson. Featuring: Eva Seymour, 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

The Honey Bees is a stage play written by veteran playwright Caleb Lewis and directed by Ella Caldwell, starring Eva Seymour, Christopher Brown, Rebecca Bower, Mara (Kat-Marek) Kaczmarek and Katerina Kotsonis. It is now showing at Red Stitch Theatre on Chapel Street in St Kilda's East, and is running until the 16th of July. Caleb Lewis' gradually and masterfully details his characters in a dexterous juggling of intersecting plotlines and overlapping relationships. His writing is enhanced by the strong direction of Caldwell, who proves to be a master of the long pause, drawing silences between characters out to a length just long enough to be painful and not tedious, creating an atmosphere of tension from the first interactions of the play. At the centre of the drama is Joan, a bitter yet charming Polish immigrant, both bee-keeper and now elderly mother, who rules her long standing (yet struggling) apiary with an iron will. Daryl is her estranged, middle aged son, vulnerable and ambitious, living in his dead fathers shadow. His younger sister, Clover, remains inert in a life resigned to helping her mother with the apiary in placeof her own ambitions as an artist. Kerry, Joan's employee and Clover's lover, is a gruff, tough farmhand who dreams of leaving the apiary - a place she perceives full of broken dreams and stagnant lives - and eloping for the city with Clover. And finally, there is the mysterious Melissa, a teenager from Sydney who enters explosively into this already strained dynamic. She proves to be the moody and abused catalyst for change and highly charged drama. A void at the heart of every character is left by the long dead but seemingly omnipresent spectre of Harry, Joan's husband, and the father of Daryl and Clover, who's actions in life prove to be the impetus for much of the desperate love and hate in the play Desperate is the key word to unlocking much at the heart of the performance, and is highlighted in a quote from Clover: Quote: ' A bee might fly over 800km in their life, and only ever produce less than a teaspoonful of Honey' End quote To a honey bee, this might be a fine achievement, but to a human audience, this fact sounds unbearably pitiable. So much hard work produces such a meagre teaspoon of positive creation. And indeed, like the struggling honeybee, all the characters have their own vast, lifelong journeys, riddled with resentment, abuse, sacrifice and lies, for such minuscule moments of sweet honey and happiness. The play seems to stress that there is only a teaspoonful of sweetness to life at times, a point emphasised in a devastating fashion by the countless tragedies realised throughout the performance, which ultimately bares the ugly truths that lurk hidden within the infinitely subtle and complex relationships that human beings invariably encounter. The set design is economic and well utilised, with strong unity between lighting and audio creating powerful atmospheres that were compelling and engaging. Furthermore, there are strong performances by the cast all round, but the standout performance is by Marta Kaczmarek as Joan - a powerful tour de force worthy of the award winning actress. You can get tickets to a performance of The Honey Bees at redstitch.net/honeybees. Once again, it is running until the 16th of July. Review written by Jim Thomas Photo credit: Jodie Hutchinson. Featuring: Eva Seymour, Marta Kaczmarek and Christopher Brown

Australia's first production of The River, by Jez Butterworth, called for a complete revamp of the Red Stitch Actors Theatre. To make a small fishing cabin by the river feel like an arena, the audience is seated on two sides of the stage as they watch a devout fisherman entertain his novice fisherwomen guests. Sometimes you are getting a monologue delivered straight to you, at other times the actor with all the lines is facing away from you, so you're watching much more of the reacting than the acting, as it were. The action and setting of this play are so markedly mundane that every tiny detail comes under the microscope. At one point, we are simply watching the fisherman clean and cook the fish that his current housemate has caught for a good few minutes. The music playing from his radio hells to lull the audience into an easy, meditative state that is far from boredom. If anything, these quiet and sometimes completely silent moments are a welcome relief in between the deep-and-meaningfuls about life out in the wilderness. Specifically, much of the conversation being had is about fish, and the sport of fishing. Butterworth, and his characters, are among the countless writers and thinkers to marvel at how spiritual and sensual an act it is, especially in the dark with only the moonlight to guide you. The River features speeches about how quickly such creatures can be pulled from their world into ours; how brown trout are born but sea trout are made; how fleeting, deceiving and humbling that electric tug of the line can truly be. They might have felt self-indulgent if they were not so exotically entrancing, and even so, he indulges his audiences as much as he might be indulging himself. No doubt during these monologues we are expected to draw parallels between the scene playing out in our mind’s eye and the scene being played out on stage, between both the fish and the women that the fisherman reels in and routinely consumes. The playwright, and arguably the director, John Kachoyan, give us many invitations to follow this line of interpretation, sometimes just short of having a character say “there are plenty more fish in the sea,” but I much preferred to follow the gaze of the characters, to look out at something larger and more ethereal than the oft-portrayed search for that special someone. The strength of the familiar characters and setting lies in their relatability, achieved by the cast – Ngaire Dawn Fair, Dion Mills and Christina O’Neill – the set designer, Chloe Greaves, and the lighting designer, Clare Springett, who bathes the scene in a multitude of gentle, cosy hues. On the other hand, the value of the extended poetic dialogue lies in its novelty, in its distance from the confines of the cabin, the play’s one, unchanging set. While the two worlds certainly take turns at being the entry point to each other at various points in the show, to peer into the wonders of the aquatic world and think only of ourselves and our own world feels like a wasted opportunity. Of course, it is important to see ourselves onstage, but it is also important to step outside of ourselves. Not everything has to be about us. Sometimes a speech about fish can actually be about fish. Review written by Christian TsoutsouvasSee omnystudio.com/listener for privacy information.

Australia's first production of The River, by Jez Butterworth, called for a complete revamp of the Red Stitch Actors Theatre. To make a small fishing cabin by the river feel like an arena, the audience is seated on two sides of the stage as they watch a devout fisherman entertain his novice fisherwomen guests. Sometimes you are getting a monologue delivered straight to you, at other times the actor with all the lines is facing away from you, so you're watching much more of the reacting than the acting, as it were. The action and setting of this play are so markedly mundane that every tiny detail comes under the microscope. At one point, we are simply watching the fisherman clean and cook the fish that his current housemate has caught for a good few minutes. The music playing from his radio hells to lull the audience into an easy, meditative state that is far from boredom. If anything, these quiet and sometimes completely silent moments are a welcome relief in between the deep-and-meaningfuls about life out in the wilderness. Specifically, much of the conversation being had is about fish, and the sport of fishing. Butterworth, and his characters, are among the countless writers and thinkers to marvel at how spiritual and sensual an act it is, especially in the dark with only the moonlight to guide you. The River features speeches about how quickly such creatures can be pulled from their world into ours; how brown trout are born but sea trout are made; how fleeting, deceiving and humbling that electric tug of the line can truly be. They might have felt self-indulgent if they were not so exotically entrancing, and even so, he indulges his audiences as much as he might be indulging himself. No doubt during these monologues we are expected to draw parallels between the scene playing out in our mind’s eye and the scene being played out on stage, between both the fish and the women that the fisherman reels in and routinely consumes. The playwright, and arguably the director, John Kachoyan, give us many invitations to follow this line of interpretation, sometimes just short of having a character say “there are plenty more fish in the sea,” but I much preferred to follow the gaze of the characters, to look out at something larger and more ethereal than the oft-portrayed search for that special someone. The strength of the familiar characters and setting lies in their relatability, achieved by the cast – Ngaire Dawn Fair, Dion Mills and Christina O’Neill – the set designer, Chloe Greaves, and the lighting designer, Clare Springett, who bathes the scene in a multitude of gentle, cosy hues. On the other hand, the value of the extended poetic dialogue lies in its novelty, in its distance from the confines of the cabin, the play’s one, unchanging set. While the two worlds certainly take turns at being the entry point to each other at various points in the show, to peer into the wonders of the aquatic world and think only of ourselves and our own world feels like a wasted opportunity. Of course, it is important to see ourselves onstage, but it is also important to step outside of ourselves. Not everything has to be about us. Sometimes a speech about fish can actually be about fish. Review written by Christian Tsoutsouvas

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.