Podcast appearances and mentions of Wesley Enoch

For NAIDOC Week, guest host Wesley Enoch is joined by First Nations performers, playwrights and programmers who "Keep the Fire Burning" on stages right across the country.Ian Michael and Rachael Maza discuss the First Nations theatrical canon and whether classic texts like Jane Harrison's Stolen should be staged more often, we find out what it's like for Aboriginal and Torres Strait Islander people to work within established Australian arts institutions, and we meet two rising stars of the stage who are about to make their debut as writers at this year's Brisbane Festival.

While some critics believe that plays like Othello and The Merchant of Venice are inherently racist, others argue that they simply portray, perhaps even criticise, the racist attitudes of the time.Wherefore, Shakespeare? is a series that explores the dilemmas, conflicts, and controversies in Shakespeare's major plays.In our fourth instalment, we interrogate Shakespeare's portrayal of race. We also explore the surprising racial dimensions of one of Shakespeare's final plays: The Tempest. We're joined by Wesley Enoch, a Quandamooka man and an award-winning playwright and theatre director, Professor David McInnis who teaches Shakespeare and Early Modern Drama the University of Melbourne, and Professor Jane Montgomery Griffiths, an acclaimed actor and the head of the School of Performing Arts at Collarts.

Explore how the arts are transforming health and education to improve care and wellbeing with acclaimed playwright Wesley Enoch, poet Selina Tusitala Marsh, nursing professor Brendan McCormack and host Claire Hooker (CREATE Centre). This podcast is a recording of a live public event held on 21 March 2024. For more links and resources, including the transcript, visit Sydney Ideas website: https://bit.ly/4a5GeLf

From April 11th to 20th, 2024, Sydney Coliseum Theatre will host the award-winning musical, "The Sunshine Club." Directed by Quandamooka man Wesley Enoch, this thought-provoking production showcases 11 talented First Nations artists alongside a dynamic 5-piece live band.

Playwright, theatre director and Quandamooka man Wesley Enoch on how a wedding ring, curlews and a ‘grandfather' ghost gum brought him the connection to country he craved. The tale I dine out on is a summer series from 10 of our favourite storytellers – actors, comedians, writers and Guardian staff – in which they recount a story that never fails to entertain

After its award winning premier in 2020, a new production of The Visitors by Indigenous playwright Jane Harrison sees us on the eve of colonisation. The first fleet sailed into Sydney Harbour on the 26 January 1788 bringing with them convicts, disease and violence. The play asks, what if we saw this moment from the Aboriginal perspective? What if they could decide whether or not to let the fleet land? As seven tribal elders watch the fleet arrive they must decide whether to stop them, or welcome them. Regina Botros follows the director Wesley Enoch, the writer Jane Harrison and the cast through the challenges of the play as it reflects, quite poignantly, the current political climate in Australia.

Guest host Wesley Enoch meets three icons of First Nations performing arts. Roxanne McDonald's stage career began more than 30 years ago when she saw an audition flyer for a play based on the poetry of Oodgeroo Noonuccal. She has since graced some of Australia's biggest stages.Also, we meet Noongar elder Richard Walley, who has made enormous contributions to Australian performing arts, from directing and acting in a range of new theatre works to twice performing for Queen Elizabeth II, and we learn about Con Colleano, a tightrope walker known as the Wizard of the Wire. Under the big top, he claimed Spanish ancestry, but Con was a Kamilaroi man, born and raised on Bundjalung country.

Guest host Wesley Enoch meets three icons of First Nations performing arts. Roxanne McDonald's stage career began more than 30 years ago when she saw an audition flyer for a play based on the poetry of Oodgeroo Noonuccal. She has since graced some of Australia's biggest stages. Also, we meet Noongar elder Richard Walley, who has made enormous contributions to Australian performing arts, from directing and acting in a range of new theatre works to twice performing for Queen Elizabeth II, and we learn about Con Colleano, a tightrope walker known as the Wizard of the Wire. Under the big top, he claimed Spanish ancestry, but Con was a Kamilaroi man, born and raised on Bundjalung country.

On 26 January 85 years ago, a group of Aboriginal men and women gathered at Australia Hall in Sydney to hold the first Day of Mourning, calling on the government to grant Aboriginal people full rights of citizenship. Playwright and Quandamooka man Wesley Enoch speaks to Laura Murphy-Oates about the ‘neglected' history of protest on this day that's as old as Australia Day itself, and why we need to move beyond celebrating the ‘British colonial project'

After 23 years Wesley Enoch is bringing his musical The Sunshine Club back to the stage.

Uncle Jack Charles talk about what it means to be named Male Elder of the Year at the NAIDOC Awards, and playwright and director Wesley Enoch brings Sunshine Club back to the stage.

Aunty Kath, Oodgeroo Noonuccal, was Valerie's godmother, and just one of many staunch political figures on both sides of her family. Val worked her way to becoming a powerful advocate for Aboriginal people and her family CW: ATSI listeners please use discretion when listening as the program references people who have died (R)

Our oldest modern dance company, the Australian Dance Theatre, has been delighting and challenging audiences for nearly 60 years. Now Wiradjuri dancer and choreographer Daniel Riley is at the helm, becoming the first Indigenous man to lead the company. Also, we meet the winner of this year's Keir Choreographic Award, Tra Mi Dinh, and Wesley Enoch's joyous musical The Sunshine Club returns to the Queensland Theatre stage after 23 years.

Our oldest modern dance company, the Australian Dance Theatre, has been delighting and challenging audiences for nearly 60 years. Now Wiradjuri dancer and choreographer Daniel Riley is at the helm, becoming the first Indigenous man to lead the company. Also, we meet the winner of this year's Keir Choreographic Award, Tra Mi Dinh, and Wesley Enoch's joyous musical The Sunshine Club returns to the Queensland Theatre stage after 23 years.

Our oldest modern dance company, the Australian Dance Theatre, has been delighting and challenging audiences for nearly 60 years. Now Wiradjuri dancer and choreographer Daniel Riley is at the helm, becoming the first Indigenous man to lead the company. Also, we meet the winner of this year's Keir Choreographic Award, Tra Mi Dinh, and Wesley Enoch's joyous musical The Sunshine Club returns to the Queensland Theatre stage after 23 years.

The former artistic director of The Australian Ballet, David McAllister, steals the spotlight to interview his partner, Noonuccal Nuugi playwright and director Wesley Enoch. Also, Yorta Yorta composer and singer Deborah Cheetham talks about the making of her opera Parrwang Lifts the Sky, based on the Wadawurrung story of the magpie who brought light to the land.

The former artistic director of The Australian Ballet, David McAllister, steals the spotlight to interview his partner, Noonuccal Nuugi playwright and director Wesley Enoch. Also, Yorta Yorta composer and singer Deborah Cheetham talks about the making of her opera Parrwang Lifts the Sky, based on the Wadawurrung story of the magpie who brought light to the land.

The former artistic director of The Australian Ballet, David McAllister, steals the spotlight to interview his partner, Noonuccal Nuugi playwright and director Wesley Enoch.Also, Yorta Yorta composer and singer Deborah Cheetham talks about the making of her opera Parrwang Lifts the Sky, based on the Wadawurrung story of the magpie who brought light to the land.

Artistic Director, Wesley Enoch assesses the impact of the COVID-19 pandemic on the Australian performing Arts sector.

Artistic Director, Wesley Enoch assesses the impact of the COVID-19 pandemic on the Australian performing Arts sector.

It's a hot-button issue in many western countries but just where did cancel culture come from and what are its ramifications? Writer James Button attempts to untangle this highly-politicised issue in conversation with acclaimed theatre director and playwright Wesley Enoch and Good Weekend editor Katrina Strickland. The podcast episode augments a three part series on the issue that James has written for The Sydney Morning Herald and The Age, the first part of which appears in Good Weekend on November 20. Read James Button's piece here. Become a subscriber: our supporters power our newsrooms and are critical for the sustainability of news coverage. Becoming a subscriber also gets you exclusive behind-the-scenes content and invitations to special events. Click on the links to subscribe https://subscribe.theage.com.au/ or https://subscribe.smh.com.au/ See omnystudio.com/listener for privacy information.

Summary: In this episode, our host Criena Gehrke speaks with playwright, artistic director, and Indigenous leader Wesley Enoch about the role of storytelling, leadership and wisdom in elevating and amplifying the voices of Indigenous artists and cultures. They also highlight the  importance of advocating for the intrinsic value of the arts, particularly in terms of celebrating differences and encouraging dialogue. After, Criena is joined by fellow host Stephanie Fortunato to discuss key takeaways. They emphasize the critical need to support the next generation of cultural leaders and arts administrators, particularly Indigenous leadership.DOWNLOAD TRANSCRIPT References One Woman's Song by Peta Murray, produced by the Queensland Theatre Company in 1993 Kath Walker Celebrating Neville Bonner, the first Indigenous federal parliamentarian Lydia Miller Pat O'Shane David Hudson Ralph Myers: let's keep the dreamers in charge of the arts Sydney Festival director Wesley Enoch talks us through his 'Australian Made' collection at SBS On Demand The New HOTA Gallery BioWesley Enoch is an internationally acclaimed playwright and artistic director. He is the current [2021] Indigenous Chair in the Creative Industries (a new role) at Queensland University of Technology (QUT), Australia. He has written and directed iconic Indigenous productions including The 7 Stages of Grieving, Black Medea and The Story of the Miracles at Cookie's Table. He was the Artistic Director of the Sydney Festival from 2017 to 2020 and was previously the Artistic Director at Kooemba Jdarra Indigenous Performing Arts and the Ilbijerri Aboriginal Torres Strait Islander Theatre Co-operative. Wesley's other residencies include Resident Director at Sydney Theatre Company; Associate Artistic Director at Belvoir Street Theatre; the 2002 Australia Council Cite Internationale des Arts Residency in Paris and the Australia Council Artistic Director for the Australian Delegation to the 2008 Festival of Pacific Arts. He was creative consultant, segment director and indigenous consultant for the 2018 Gold Coast Commonwealth Games.

After Isaac Adams returned from Afghanistan struggling with anger and hypervigilance, he found that working with traumatised racehorses was helping him heal

After Isaac Adams returned from Afghanistan struggling with anger and hypervigilance, he found that working with traumatised racehorses was helping him heal

Lynn Rainbow grew up in a castle in one of Australia's most theatrical families. In the 1970s she became a famous actress, before she began a new life as a philanthropist

Lynn Rainbow grew up in a castle in one of Australia's most theatrical families. In the 1970s she became a famous actress, before she began a new life as a philanthropist

Is all art, is in some ways manipulative? Isn't entertainment just another means to educate? Today's guest is Wesley Enoch, a writer and director that has helped shape some of Australia's most iconic and celebrated Indigenous theatre productions including “The Sapphires” the true story turned play by Tony Briggs that become a film earning 20 million at the Australian box office. It's always a real personal treat to hear about the history and background to a iconic or landmark piece of art - but this conversation showed me the different philosophies and methodologies every individual takes to shape the messages and causes they are passionate about. How art can be as Wesley suggests a “trojan horse for change…”He has worked as Artistic Director of Queensland Theatre Company, the Sydney Festival, a for the 2018 Gold Coast Commonwealth Games. His many original plays are celebrated pieces of Australian theatre and we chat from his office at Sydney Festival in 2019 - yes this is another one from the vault! - He ramble through his early days plying his trade, his mentor Nick Enright, the Australian playwright and director and how that infused his work and life as a director… but it comes back to the Sapphires today folks - the story of four women that travel to Vietnam to sing for troops in 1968. A true story turned play, turned film that inspired and educated many of us. Without us realising at the time. The Sapphires Film TrailerBuy The Sapphires SoundtrackWriter of the play TONY BRIGGS talks about previous Australian productionWesley Enoch's PlaysProduced by Old Fashioned StudiosHosted by Bradley McCawSound design by Matt Erskine & Cross Point SolutionsStory Producer & additional engineering by Gilang CandradityaTheme composed by James Ryan

Is all art, is in some ways manipulative? Isn't entertainment just another means to educate? Today's guest is Wesley Enoch, a writer and director that has helped shape some of Australia's most iconic and celebrated Indigenous theatre productions including “The Sapphires” the true story turned play by Tony Briggs that become a film earning 20 million at the Australian box office. It's always a real personal treat to hear about the history and background to a iconic or landmark piece of art - but this conversation showed me the different philosophies and methodologies every individual takes to shape the messages and causes they are passionate about. How art can be as Wesley suggests a “trojan horse for change…”He has worked as Artistic Director of Queensland Theatre Company, the Sydney Festival, a for the 2018 Gold Coast Commonwealth Games. His many original plays are celebrated pieces of Australian theatre and we chat from his office at Sydney Festival in 2019 - yes this is another one from the vault! - He ramble through his early days plying his trade, his mentor Nick Enright, the Australian playwright and director and how that infused his work and life as a director… but it comes back to the Sapphires today folks - the story of four women that travel to Vietnam to sing for troops in 1968. A true story turned play, turned film that inspired and educated many of us. Without us realising at the time. The Sapphires Film TrailerBuy The Sapphires SoundtrackWriter of the play TONY BRIGGS talks about previous Australian productionWesley Enoch's PlaysProduced by Old Fashioned StudiosHosted by Bradley McCawSound design by Matt Erskine & Cross Point SolutionsStory Producer & additional engineering by Gilang CandradityaTheme composed by James Ryan

The arts industry has been slammed by Covid-19, with many thousands of events cancelled and artists out of work. Indigenous art has been particularly affected.  Aboriginal directors Wesley Enoch and Rhoda Roberts believe creative expression is so powerful it can help break down racial prejudice. But now, they fear that a generation of indigenous creatives might be left behind.

The arts industry has been slammed by Covid-19, with many thousands of events cancelled and artists out of work. Indigenous art has been particularly affected.  Aboriginal directors Wesley Enoch and Rhoda Roberts believe creative expression is so powerful it can help break down racial prejudice. But now, they fear that a generation of indigenous creatives might be left behind.

In this episode, I'm joined by Chenoa Deemal. She is a professional actor and has been in many productions, including The 7 Stages of Grieving, The Longest Minute, which she received a Matilda Award nomination for best actress, and, most recently, in the production, Cursed, writen by Kodie Bedford who is an incredible Indigenous writer for screen and stage.Chenoa is a Thiithaarr Warra woman from the Guugu Yimithirr Nation. Chenoa is passionate about her work and the roles that she takes on."The more exposure Indigenous kids and children of color, I mean, you know, refugee kids, the more that they see themselves and their stories represented, the more they feel like they're important and that they matter and their stories matter. Yeah, that's important to me, that they're valuable."In 2020 Chenoa appeared in the world premier of Ensemble Theatre's Black Cockatoo and in the award-winning Australian play Holy Day by Andrew Bovell in New York, in March 2019. With production partners United Stages and Grin and Tonic, Chenoa had a month-long season of The 7 Stages of Grieving by Wesley Enoch and Deborah Mailman at Starlight Theatre, Los Angeles.  In 2018 she played the lead in Queensland Theatre's The Longest Minute which received a Matilda Award Nomination for Chenoa - Best Actress in a Leading Role.  She also appeared in David Williamson's Sorting Out Rachel at Sydney's Ensemble Theatre in 2018.  Her performance in the Queensland Theatre/Grin & Tonic co-production The Seven Stages of Grieving garnered huge critical acclaim; the production also went to London for the 2017 Border Crossings' Origins Festival.  Other theatre credits include: Rainbow's End (Riverside Theatres), An Octoroon, St Mary's in Exile, Mother Courage and Her Children(Queensland Theatre), The Voice in the Walls (Imaginary Theatre), Mr Takahashi & Other Falling Secrets (Corrugated Iron) and A Man with Five Children (Darlinghurst Theatre).  Splatalot!(YTVcanada/CBBC/ABC3) & short film Love Song Dedication. Education: Bachelor of Fine Arts (Acting) QUT; Advanced diploma of the Performing Arts:ACPA (Aboriginal Centre of the Performing Arts).You can connect with Chenoa on Instagram @chenoadeemalFollow along with the podcast @healingouridentity on Instagram. I have recorded a masterclass for you as well called ‘Reclaim Your Identity'. It's free and you can access it at www.womenreconnecting.com Please like, subscribe and share this episode with a friend you know will enjoy it! 

When David McAllister began ballet lessons in Perth in the 1970s, being a 'ballet boy' was a kind of social death. But his school bullies helped spur him on to become one of the world's best dancers (R)

When David McAllister began ballet lessons in Perth in the 1970s, being a 'ballet boy' was a kind of social death. But his school bullies helped spur him on to become one of the world's best dancers (R)

How do we measure those mental, social and cultural impacts of isolation on the individual and the wider community from a First Nations perspective?

How do we measure those mental, social and cultural impacts of isolation on the individual and the wider community from a First Nations perspective?

Playwright Wesley Enoch learnt about the power of storytelling early in his career. Born on Minjerribah (North Stradbroke Island) and great nephew of Oodgeroo Noonuccal, art and political activism are part of his family legacy. For three decades, while directing theatre and festivals all over Australia, Wesley has used stories to effect social change. In this podcast he ponders the ‘"fork in the road'' in his own life that led him to write and direct plays that change perspectives and conventional narratives. Where I Belong is written and produced on Turrabul and Yaggera land by Wendy Love. Museum of Brisbane acknowledges the Traditional Owners of this land and pays its respect to Elders past, present and emerging.The transcript for this episode is available to download from the Museum of Brisbane website.Thanks to Dylan Ransom-Hughes for doing the final mix on this trailer. Special thanks to Louise Martin-Chew. Theme music by Blue Dot Sessions.

Just like an English class, my colleagues Jen and John (JR) use the important Indigenous play 'The 7 Stages of Grieving' by Wesley Enoch and Deborah Mailman as a spring board for discussion. Not only do we discuss the play that we are currently teaching alongside ‘The Longest Memory' by Fred D'Aguiar, but we also discuss our own Australian identities. Jen in particular discusses the trauma around not fully having her own identity (potentially Indigenous) really clarified for her and her family. John discusses the importance of history in our curriculum and how he became such a strong ally and advocate for oppressed voices, including Aboriginal and Torrest Strait Islanders. We also talk about the teaching of empathy through the English curriculum our favourite texts to teach and why the importance of storytelling the controversy surrounding Bruce Pascoe's 'Dark Emu' The conversation is not just for educators and students in VCE English, but also a wider audience because the themes are truly universal. Feel free to support me an dmy work by buying me a virtual coffee. --- Send in a voice message: https://anchor.fm/laura4712/message

Just like an English class, my colleagues Jen and John (JR) use the important Indigenous play 'The 7 Stages of Grieving' by Wesley Enoch and Deborah Mailman as a spring board for discussion. Not only do we discuss the play that we are currently teaching alongside ‘The Longest Memory' by Fred D'Aguiar, but we also discuss our own Australian identities. Jen in particular discusses the trauma around not fully having her own identity (potentially Indigenous) really clarified for her and her family.  John discusses the importance of history in our curriculum and how he became such a strong ally and advocate for oppressed voices, including Aboriginal and Torrest Strait Islanders. We also talk about the teaching of empathy through the English curriculum our favourite texts to teach and why the importance of storytelling the controversy surrounding Bruce Pascoe's 'Dark Emu'  The conversation is not just for educators and students in VCE English, but also a wider audience because the themes are truly universal. Feel free to support me an dmy work by buying me a virtual coffee.  

Arts leaders Wesley Enoch and Rhoda Roberts AO reflect on the legacy of writer Oodgeroo Noonuccal and activism in the arts. The first published Aboriginal poet in Australia, the writings of Oodgeroo Noonuccal (Kath Walker), captured both the strength of Aboriginal culture and the impacts of colonisation on her people. A charismatic, strong leader from Minjerribah (Stradbroke Island), her distinctive voice pricked the national consciousness and brought another perspective to the literature of the time. Wesley Enoch, who grew up on Minjerribah, has strong memories of “Aunty Kath”, and is now returning to Country and carrying on her legacy. In this very personal session, arts leaders Wesley Enoch and Rhoda Roberts AO share their memories of Noonuccal and discuss how arts and activism are inseparable.

A Gangulu elder, Mick was Co-Commissioner of the high profile Royal Commission into the Protection and Detention of Children in the Northern Territory. Mick's fierce advocacy for young people is due in part to a sliding doors moment in his teens (CW: Discussion of suicide.  And for ATSI listeners please be advised this conversation contains the names of people who have died.  Take care when listening.)

A Gangulu elder, Mick was Co-Commissioner of the high profile Royal Commission into the Protection and Detention of Children in the Northern Territory. Mick's fierce advocacy for young people is due in part to a sliding doors moment in his teens (CW: Discussion of suicide.  And for ATSI listeners please be advised this conversation contains the names of people who have died.  Take care when listening.)

Aunty Kath, Oodgeroo Noonuccal, was Valerie's godmother, and just one of many staunch political figures on both sides of her family. Val worked her way to becoming a powerful advocate for Aboriginal people and her family CW: ATSI listeners please use discretion when listening as the program references people who have died.

Aunty Kath, Oodgeroo Noonuccal, was Valerie's godmother, and just one of many staunch political figures on both sides of her family. Val worked her way to becoming a powerful advocate for Aboriginal people and her family CW: ATSI listeners please use discretion when listening as the program references people who have died.

Taking on Macbeth is a mammoth task for any director but try translating and performing it entirely in Noongar. In our next conversation between legends of Australian theatre, Wesley Enoch meets Noongar actor, director and translator Kylie Bracknell (Kaarljilba Kaardn). Also, we hear a scene from the world premiere of York at Black Swan State Theatre Company and visit performer Paul Capsis and director Chris Drummond in rehearsal for Brink's music-rich adaptation of The Bridge of San Luis Rey by Thornton Wilder.

Taking on Macbeth is a mammoth task for any director but try translating and performing it entirely in Noongar. In our next conversation between legends of Australian theatre, Wesley Enoch meets Noongar actor, director and translator Kylie Bracknell (Kaarljilba Kaardn).Also, we hear a scene from the world premiere of York at Black Swan State Theatre Company and visit performer Paul Capsis and director Chris Drummond in rehearsal for Brink's music-rich adaptation of The Bridge of San Luis Rey by Thornton Wilder.

Taking on Macbeth is a mammoth task for any director but try translating and performing it entirely in Noongar. In our next conversation between legends of Australian theatre, Wesley Enoch meets Noongar actor, director and translator Kylie Bracknell (Kaarljilba Kaardn). Also, we hear a scene from the world premiere of York at Black Swan State Theatre Company and visit performer Paul Capsis and director Chris Drummond in rehearsal for Brink's music-rich adaptation of The Bridge of San Luis Rey by Thornton Wilder.

How do we measure those mental, social and cultural impacts of isolation on the individual and the wider community from a First Nations perspective?

After five years at the helm of the annual Sydney Festival, Wesley Enoch reflects on his time as Artistic Director as he pulls together his final program.

The outgoing artistic directors of Sydney Festival and the Australian Ballet, Wesley Enoch and David McAllister, combine forces to battle against their impending irrelevance, by doing extremely well at the quiz. Whether it's questions about WWII tanks or Greek mythology, these two pass with flying colours. They even ace the sports question. But like everyone else, they come undone with geography.Guests: Wesley Enoch and David McAllisterIn the paper: After the virus: Radical optimism for the arts in The Saturday Paper Support this show http://supporter.acast.com/the-saturday-quiz. Support this show http://supporter.acast.com/the-saturday-quiz. Hosted on Acast. See acast.com/privacy for more information.

Celebrated playwright and theatre director Wesley Enoch is a proud Noonuccal Nuugi man. During his career he has directed many plays by Aboriginal and Torres Strait Islander artists. Building up to the First World War centenary, Wesley developed the Black Diggers project about the experience of indigenous soldiers in World War One with the playwright Tom Wright. In these special editions of The Essay we gain an international perspective on the war as we hear from cultural figures from around the world taking part in an international series of events called The War That Changed The World, made in partnership with the British Council and the BBC World Service. Wesley Enoch's essay, Stories that Bind, is delivered at the ABC headquarters in Sydney. In it he explores the powerful legend of Anzac in Australia and how that can leave out an important part of the story.Producer, Charlie Taylor.