MELBOURNE INDEPENDENT CELEBRATORY FEMINIST Maddie Parker and Jen Mackie Live. Laugh. Love.
6–19 April
Tasma Terrace comedyfestival.com.au
Maddie Parker, Jen Mackie (or visa versa) Photo by Jimmy Woodriff
More MICFs I haven't seen yet. But Nikki Britton thinks they are ok and that's a pretty good recommendation. If you could see anyone (possible or impossible) in your audience, who would it be?
Amy Poehler, Tina Fey and Maya Rudolph on a night out. (Cliche? Yes. Do we care? No.)
What is one of your favourite comedy festival memories?
We're yet to do a comedy festival together yet! But in this show, we have a dance number at the end, and halfway through the dance we turn to face each other as we do starj umps, and every time we get to that bit, we always have the biggest, silliest beaming grins on our faces when we look at each other. It's a combination of relief that we've got through the whole show again, joy because the show is so much fun to do, and love, both for what we do and each other. So that's a nice memory we get to relive again and again every night.
Who is one of your favourite Melbourne Indie Celebratory Feminists?
The incredible Nikki Britton. She's such an amazing performer, and such a warm, kind, uplifting person. She's been extremely generous in helping us with this show, and we can't thank her enough.
MELBOURNE INDEPENDENT CELEBRATORY FEMINIST Lily Fish Jofus and the Plank
13–19 April
The Butterfly Club comedyfestival.com.au
Lily Fish
I still work in theatre because I was taken to theatre when I was a child. There are some amazing shows just for children in this festival. This show is at The Butterfly Club; thinking that there will be. child who's first experience of a theatre is The Butterfly Club is too perfect. If you could see anyone (possible or impossible) in your audience, who would it be?
Her Royal Highness Magda Szubanski. I would literally stop the show to squeal with delight.
What is one of your favourite comedy festival memories?
My dad taking me to see The Four Noels as a child. It completely blew my mind that you could be so so seriously silly.
Who is one of your favourite Melbourne Indie Celebratory Feminists?
Kimberley Twiner. She's an absolute powerhouse! She's Artistic Director of PO PO MO CO and The Melbourne Physical Theatre School, and she's directed a bunch of award winning all femme clown shows including The Travelling Sisters, Maggot and Jofus and the Plank. And she's a damn funny performer in her own right.
MELBOURNE INDEPENDENT CELEBRATORY FEMINIST Maeve Marsden Fat Musicals: A Body of Work
26 March–5 April
Malthouse Theatre comedyfestival.com.au
Maeve Marsden, Libby Wood
If there were ever a show written for me, this is it. And I don't need to convince anyone who has seen Maeve and Libby perform that they need to go. If you could see anyone (possible or impossible) in your audience, who would it be?
Lizzo.
What is one of your favourite comedy festival memories?
My favourite moments at the comedy festival are always backstage. I love the energy of performers gathered about a mirror, warming up, chattering, all that nervous energy. Performing cabaret in a group means there's this real collegiate atmosphere. I've always had a sort of romantic feeling about dressing rooms.
Who is one of your favourite Melbourne Indie Celebratory Feminists?
Ali McGregor. She's a fierce and talented performer, she always works to support emerging or early career artists - especially women – and she's always eager learn more, politically and creatively.
MELBOURNE INDEPENDENT CELEBRATORY FEMINIST Alice Tovey Doggo
2–19 April
The Butterfly Club comedyfestival.com.au
Alice Tovey. Photo by Theresa Harrison
Alice's Garbage Monster was one of my favourite cabaret shows of last year. It ensured that I will never wear a too-tight shame bra again. This show might be about dogs! Everyone assumes that I'm a cat person (cos cats), but I'm really bipetal: I love dogs and cats. Or maybe panpetal ...
To get to know some of the people Alice talks about here, listen to Dump Him: The Game Show podcast. (Oh, the things I no know about them.) AND, it has live shows every Friday during the festival. I don't know if I can stay up until 11.30 to be at them, but I'll try.
And there's the return season of Polygamy, Polygayu: A New Musical. Another show I loved a lot last year. If you could see anyone (possible or impossible) in your audience, who would it be?
Brendan Fraser in the 1997 movie version of George of the Jungle. No further questions.
SM:As a journalist, I have never understood an answer quite as much as this one.
What is one of your favourite comedy festival memories?
The first festival show performed in was an hour long musical parody of Les Miserables. I had to sing a long about oral sex to the tune of "On My Own", which, needless to say, bought the house down every night.
Who is one of your favourite Melbourne Indie Celebratory Feminists?
I adore the vivacious, ferocious Anna Piper Scott. She may be the queen of snark, but the love that Anna has shown women in comedy is truly inspiring. Every day I am more in awe of her and her never ending cabinet of awards. Her show is what I want all of my comedy to be: raw, beautiful, evocative story telling by a shit hot lady.
What three shows are you not going miss this comedy festival? Scout Boxall Good Egg (It broke my brain and changed my life. Scout hurls themselves off the precipice of excellence into a never ending gorge of silly every day and I am here for it.) Charity Werk Drama Queen (There is nothing that Charity can't do. She's one of the hardest working comedians in the country and the show she has created is pure gold. If you like glitter and anecdotes about the oppressive catholic school system, see Ms Werk.) Patrick Collins Mime Sherrif (Talented bastard. He's good at everything and he's hot, it's disgusting. If it wasn't for the fact that Patrick is the only other bisexual in comedy besides yours truly, I would despise that mime.)
AT: It's impossible to chose only three.
SM: It is bloody hard, isn't it.
AT: While I'm here, shout out to the incredible Lauren Edwards, Jude Perl, Mormon Girl, Big Big Big, Woah! Alyssa, Bella Green, Breast of the Fest, Stuart Daulman, We Are Nemesis and Dazza & Keif. What else could MICF stand for?
Moo I Cow Friend.
Milk Isn't Cancelled Francine!
Most Iguanas Can't Fart (might be a fact).
GIVEAWAY COMPETITION
2 double passes to
Alice Tovey, Doggo 2 April 7.00pm The Butterfly Club EMAILwith ALICE TOVEY COMPETITION in the subject
Closes on 27 March 2020
MELBOURNE INDEPENDENT CELEBRATORY FEMINIST Cherie Smith Comedy Women's Association presents Absolutely Cooked
10–11 April
Campari House comedyfestival.com.au
Line up shows like this can be like a CWA cake stall with samples: you can taste the best and choose your favourite. Or at least have an extra serve of scones with jam and cream. If you could see anyone (possible or impossible) in your audience, who would it be?
Julia Gillard.
What is one of your favourite comedy festival memories?
Lip Sync Battles. Either Granny Bingo Downtown or Zoe Coombes Marr giving birth to Demi Lardner while singing "What's Up".
Who is one of your favourite Melbourne Indie Celebratory Feminists?
Just one?! Lauren Bok, Annie Louey Zoe Coombes Marr, Urzila Carlson,
Luisa Omielan, Aurelia St Clair, Anna Piper Scott, Steph Tisdell... the
list goes on.
MELBOURNE INDEPENDENT CELEBRATORY FEMINIST Alanta Colley On the Origin of Faeces
24 March–4 April
TBC comedyfestival.com.au
Alanta Colley. Photo by Sarah Walker
I know so much about bees because of Alanta, and one of my favourite MICF stories her chasing bees around Northcote. I can promise that you'll come out of her show smarter than when you went in, which doesn't compare to the utter delight of hearing her stories that combine the scientific and the personal. And this show is about poo. I can't wait.
If you could see anyone (possible or impossible) in your audience, who would it be?
Phoebe Waller Bridge. Everything she creates is magic.
What is one of your favourite comedy festival memories?
In my early days, when I'd squeeze in 4–5 shows a day, I came out of a show late and a little delirious and couldn't remember where I had left my bike. I bumped into Alisdair Tremblay Birchall, who was carrying a bag of carrots. He offered me one and helped me find my bike. He is a man of infinite generosity and, what most people don't know about him, is that he always has at least one kind of vegetable on his person.
Who is one of your favourite Melbourne Indie Celebratory Feminists?
I'll go international with Josie Long. I always think about her show title Romance and Adventure because I think it sums up her positive, cheeky, delightful storytelling shows which always enthral audiences.
What three shows are you not going miss this comedy festival? Ange Lavoipierre Zealot (An exploration of God, which I am so thoroughly here for.) Alisdair Tremblay-Birchall & Andy Matthews Teleport. (It's an engineering show and they're both a bloody delight.) Martin Dunlop The Last Ghost is You (Explores all the tropes of the world of ghost stories and asks, what it really means to be haunted.) What else could MICF stand for?
Many Indiscriminately Coloured Ferrets.
GIVEAWAY COMPETITION
1 double pass to
Alanta Colley On the Origin of Faeces 3 April 7.15pm TBC EMAILwith ALANTA COLLEY COMPETITION in the subject
Closes on 29 March 2020
MELBOURNE INDEPENDENT CELEBRATORY FEMINIST Louise Cox Soothplayers Improvised Jane Austen
25-29 March
Campari House comedyfestival.com.au
Louise Cox
Given how much I adore the Soothplayers Completely Improvised Potter and Completely Improvised Shakespeare, I'm already thinking about the title I want to suggest for the Austen version. If you could see anyone (possible or impossible) in your audience, who would it be?
The ghost of Jane Austen.
What is one of your favourite comedy festival memories?
My comedy festival memories all blur into one impression of laughing, spending time with friends, eating late and getting no sleep.
Who is one of your favourite Melbourne Indie Celebratory Feminists?
Bella Green.
MELBOURNE INDEPENDENT CELEBRATORY FEMINIST Lou Wall Lousical the Musical
26 March–5 April
Malthouse Theatre, Shell Room comedyfestival.com.au
Lou Wall. Photo by Emma Holland
If you've seen Lou Wall, you know you have to see her again. If you haven't seen her, get in while you can. I'm trying to write something that doesn't make me sound like a fan girl, but I am. If you could see anyone (possible or impossible) in your audience, who would it be?
Probs Lizzo. I'd be like wtf are you doing here Lizzo!?!? We'd laugh and then I'd finish my set while she accompanied me on flute.
What is one of your favourite comedy festival memories?
A couple of years ago I did my first comedy fest and my show closed on my 21st birthday. We were drinking from 11am in the morning and after I finished my show I decided to swim in the NGV fountain. It was pretty refreshing tbh.
Who is one of your favourite Melbourne Indie Celebratory Feminists?
I adore Jordan Barr. Dark, deeply satirical, filthy material that makes me cackle.
MELBOURNE INDEPENDENT CELEBRATORY FEMINIST Jacci Pillar Tardy: Ready and Disabled
26–29 March
Laneway Learning comedyfestival.com.au
Jacci Pillar. Photo by Raphael Kaleb
Jacci is another artists who I haven't seen ... yet. She also has a very short season at the beginning of the festival. Her show is described as "a look at identity politics (as a queer, autistic, veteran) through the lens of someone who never got it, didn’t get it and just felt like they would do their own thing regardless." See diverse voices. Listen to diverse stories. See new voices and remember that new doesn't have to mean young. If you could see anyone (possible or impossible) in your audience, who would it be?
Hannah Gadsby.
What is one of your favourite comedy festival memories?
Getting to be a part of a Mad Pride line up with Felicity Ward as the headliner in 2019 when she sang "Bohemian Rhapsody" entirely in chicken clucks.
Who is one of your favourite Melbourne Indie Celebratory Feminists?
Lucy Best.
MELBOURNE INDEPENDENT CELEBRATORY FEMINIST Sharnema Nougar from Two Little Dickheads Two Little Dickheads: KAPOW!
25 March–19 April
BOB comedyfestival.com.au
Two Little Dickheads and Haiku the cat. Photo by Nick Doolan.
(Want my attention? Photo of a cat.)
I saw the first Two Little Dickheads show in 2018 because Tessa Waters told me that I should. She was right. It was as ridiculous as it was gorgeous. And what a joy to see people create comedy that is so theirs that there is nothing to compare it to. Make stuff that you love and you will find an audience who love you. (And I have since met Haiku and Bongo the cats.) If you could see anyone (possible or impossible) in your audience, who would it be?
Patti Smith or Ani Difranco. They’re both in the country. SHARE THE SHIT OUT OF THIS ARTICLE SO THEY HEED OUR DiCKHEAD CALL.
What is one of your favourite comedy festival memories?
Wearing a dress made completely out of pots and pans! It was magnificent idiot couture. Dave wore a funnel for a minimalistic juxtaposition. It was funny. One night I accidentally knocked his funnel off his willy. My mum was in the audience! And my Grandma. And Mum's best friend. And Grandad. It was VERY funny. To my dismay, we now have a ‘no nude Dave’ Dickhead policy.
Who is one of your favourite Melbourne Indie Celebratory Feminists?
The Travelling Sisters! Do they count as one? It’s impossible to choose between them.
What three shows are you not going miss this comedy festival? Cousin Tara: Wukkas (We smell Gibbo potential.) Big Big Big: Catching Jack (A trio of MICFs that are ripping it up. The future of comedy is now.) Aborigi-LOL: The Return(LOL is an understatement, Dane and Matt are thigh-slappin' snortin' funny.)
What else could MICF stand for?
Menstruation Is Completely Fine
GIVEAWAY COMPETITION
2 double passes to
Two Little Dickheads: KAPOW! 25 March 9.30pm BOB bar EMAILwith DICKHEADS COMPETITION in the subject
Closes on 20 March 2020
MELBOURNE INDEPENDENT CELEBRATORY FEMINIST Chi Nguyen LOTUS
26–28 March 2020
SIGNAL comedyfestival.com.au
Chi Nguyen
I haven't seen Chi perform yet, but she talked about making good Vietnamese iced coffee in her media email – and that was enough to get my attention. And young female voices taking over the festival...
If you could see anyone (possible or impossible) in your audience, who would it be?
Ali Wong! 100%
What is one of your favourite comedy festival memories?
Coming to watch Comedy Zone Asia and someone thought I was there to do a set, haha.
Who is one (or three)of your favourite Melbourne Indie Celebratory Feminists?
The comedy queens of my heart are Diana Nguyen, Lou Wall and Margot Tanjutco.
MELBOURNE INDEPENDENT CELEBRATORY FEMINIST Tara Leigh Dowler Cousin Tara Wukkas
25 March–5 April
The Rattlesnake Saloon comedyfestival.com.au
Tara Leigh Dowler. Photo by Alexis D Lea
Nevertheless, she persisted. I remember Tara inviting me to see Pink Flappy Bits and I didn't see it. There's a point in festival when there just isn't enough time/energy/ability to see another show. Or it's the Survivor finale. If media miss your show, it's their loss – so keep asking. I saw Cousin Tara's Intervention Variety Hour at Melbourne Fringe last year and will now see all of her shows. It's so easy to see trusted names and people you know during MICF, but you know what you're going to see and know most of the jokes. For every trusted show you see, see an emerging voice, especially those MICFs who may challenge your assumptions about soooooo many things.
If you could see anyone (possible or impossible) in your audience, who would it be?
Kate Miller-Heidke (ooooooh or Amanda Palmer).
What is one of your favourite comedy festival memories?
2016, Lou Mapleston and I presented the first Pink Flappy Bits season at The Highlander. Despite being totally unknown, we sold out our first six shows ... then added two more. It seemed we'd tapped into a zeitgeist that really hit the sweet spot for a lot of AFAB, women and queer punters. This was perhaps the most exciting time I've had on stage. Feminist comedy felt like a comfort and a cause that would totally change my life.
Who is one of your favourite Melbourne Indie Celebratory Feminists?
Geraldine Quinn. I look up to her tremendously. She is an exceptionally talented singer performer and songwriter ... not to mention, a total badass.
MELBOURNE INDEPENDENT CELEBRATORY FEMINIST
Jude Perl Puffy Jacket
26 March-19 April
Melbourne Town Hall, Portico Room comedyfestival.com.au
Jude Perl
I saw Jude Perl's I Have a Face last year and said, "Her work is personal and vulnerable and questions so many of the ridiculous expectations about femininity and sexuality that face women every day." And now I'm singing "I have a face"; her work sticks. If you could see anyone (possible or impossible) in your audience, who would it be?
Maria Bamford.
What is one of your favourite comedy festival memories?
Drinking tea at the Malthouse after my shows.
Who is one of your favourite Melbourne Indie Celebratory Feminists?
Clara Cupcakes.
MELBOURNE INDEPENDENT CELEBRATORY FEMINIST Annie Louey Annie Louey's Big Break
26 March–19 April
Chinese Museum comedyfestival.com.au
Annie Louey. Photo by Theresa Harrison
I first saw Annie perform about three years ago. I knew then that she was going to be one of those performers who let me have bragging rights of "I saw them when they first started". If you could see anyone (possible or impossible) in your audience, who would it be?
Lucy Liu. Just for the Kill Bill references in this show and my sick martial arts choreography.
What is one of your favourite comedy festival memories?
Chinese folks I've never met coming to my show to support me only because we have the same surname. Honestly if your surname is Louey, just hit me up and I'll comp you in!
Who is one of your favourite Melbourne Indie Celebratory Feminists?
Liz Skitch, my director, because she's fierce and finds time to help other women no matter how busy life gets. I told her I was getting eaten alive by mosquitos while sleeping, so she came over and helped me put a mosquito net the same day – with her kids in tow.
Harry Potter and the Cursed Child, Parts One and Two Sonia Friedman Productions, Colin Callender and Harry Potter Theatrical Productions
1 March 2020
Princess Theatre harrypottertheplay.com/au
Going back to a show that you loved is a little bit scary. What if it's got tired? What if the new cast aren't as lovely? What if your memory of the show was tainted by the enthusiasm of every one else who saw it? What if if just isn't as good?
I was overly excited to see it again and secretly terrified that I'd wish I'd kept the first memory.
Is it still the best?
Yes.
I think I loved it MORE this time.
Critically, there's nothing that hasn't been said. Throw all the stars at it. Any issues with a slightly clunky script and a tendency to sentiment are dismissed by story choices, complex characters and impossible dilemmas that need to play at the extremes of the emotional scale to feel deserved. The sentiment isn't unearned melodrama.
Even though the promise to #KeepTheSecrets has been dropped, the thought of denying anyone the surprises, joy and tears is too unfair. The pay offs are worth it, from geeky quivering to plunging back into the book stories and being with characters that we understand far better than they know themselves because we've known them since they were 11.
Maybe we can start discussing the intricacies of the story next year. (If you don't know if someone has seen it and don't want to ask them outright, ask "Is that a farmers market?".)
Meanwhile, so much of the joy of being there is spending the day with friends and strangers who know this world and want to talk about which house you're in.
Technically what happens on the Cursed Child stage is as close to perfect as staging can be. The tricks are hidden, without ever denying that they are tricks and without ever doubting that they are magic. Without any stage distraction – the magic works every time – the audience are free to be in the world and only have to worry about the story and the characters. Never seeing the outrageous cleverness of the technology is the genius of the technology.
All of which would mean nothing if the cast faltered. If a cape swish were halfhearted, if a stair move were out of sync, if a background glance weren't in the right direction, the magic would be broken. It never is.
This Harry Potter story is a different experience from reading the books, seeing the film (or cosplaying or indulging in fan fiction). This story is driven by the personal rather than the magical. While the films can create house elves and hippogriffs – and imaginations create anything as we read – a stage story is limited to a box. The staging IS remarkable, but it's secondary to the personal experiences of the characters. We don't cry because someone can go back in time, we cry because of why they do it.
The significant new cast members (Nyx Calder as Scorpius Malfoy and Michael Whalley as Ron Weasley, and Gillian Cosgriff moving to Delphi Diggory and Jessica Vickers to Moaning Myrtle) slip in like they've always been there and prove that there's room to bring new insights to the characters; Cosgriff's Delphi is especially exciting and terrifying.
And seeing how the existing cast have developed the characters is another reason why the show isn't going anywhere. Sean Rees-Wemyss (Albus Potter), Gareth Reeves (Harry Potter) and Tom Wren (Draco Malfoy) have each brought a depth of understanding that adds dimensions to a story full of dimensions. And Paula Arundell (Hermione Granger) and Lucy Goleby (Ginny Potter) continue to bring guts and courage to the women who love Harry but know his faults better than anyone. Harry Potter and the Cursed Child is still everything fans could dream of and is guaranteed to convince the most skeptical muggle that magic is real.
It's also prohibitively expensive. And, even knowing that this is what it costs to make something this good, that still breaks my heart. I want every one who has loved the books to experience this show.
It's worth saving up for and entering the Friday Forty every week. But I will keep asking that producers and governments and organisations with money consider what they can do to make this an experience that isn't restricted to people who can afford it.
How amazing would it be if there were enough positive creative reviewers in Melbourne that every indie show could be reviewed!
There may not be many ways to get paid and published as a reviewer but there are ways to self publish and get read. And don't forget that we don't have to communicate in old-fashioned words any more.
This workshop is for anyone who has thought about reviewing and sharing their opinions about shows. If you see a lot of shows, you will have some opinions that other people will want to hear.
And it's for those who have started reviewing and want to develop their writing skills and get more readers. It's especially good if you have lots of ideas and don't know how to structure them.
It's relevant for all types of reviewing but there's a focus on comedy and how to write about "funny". Hint: it's not about punching down. Ever.
They are also fun, and hanging out in The Butterfly Club with a cocktail is more fun than being in a classroom.
If you go to theatre a lot and have ever thought about writing about it or sharing your love, come along. If you don't where to start, come along. If you've started and want to write reviews that more people read, come along. If you have lots of ideas and don't know how to structure them, come along.
PS: How amazing would it be if I got a new head shot (which was taken by the amazing Sarah Collins).
Green Room Award Ceremony
Monday 30 March
Comedy Theatre greenroom.org.au
The Very Good Looking Initiative in 'Poopie Tum Tums'
The nominees for the 37th Annual Green Room Awards were announced this morning.
DANCE
Joel Bray in 'Biladurang'. Photo by Pippa Samaya
Performer (2 Winners)
Benedicte Bemet – Years Work (The Australian Ballet)
Marlo Benjamin – Skeleton Tree (Stephanie Lake Company in association with Malthouse Theatre as part of Dance Massive)
Joel Bray – Biladurang (Joel Bray in association with Arts House as part of Dance Massive)
Tra Mi Dinh – Make Your Own World (Lucy Guerin Inc in association with Arts House as part of Dance Massive)
Rebecca Jensen – Make Your Own World (Lucy Guerin Inc in association with Arts House as part of Dance Massive)
Marcus Morelli – Sylvia (The Australian Ballet)
Dalisa Pigram – Le Dernier Appel/The Last Cry (Marrugeku in association with Arts House as part of Dance Massive)
Thomas E.S. Kelly – CO_EX_EN (Karul Projects in association with Arts House as part of Dance Massive)
Vicky Van Hout – Plenty Serious Talk Talk (Vicki Van Hout in association with Arts House and YIRRAMBOI Festival)
Paul White – Cella (Narelle Benjamin in association with Arts House as part of Dance Massive)
Duet and Ensemble Performance
Sydney Dance Company – Woof (Sydney Dance Company)
Jonathan Sinatra, Stuart Shugg, Alexandra Petrarca, David Huggins, Linda Sastradipradja, Rachel Doust, Megan Payne – Cultural Residues 2020 (Russell Dumas in association with Dancehouse as part of Dance Massive)
Marrugeku – Le Dernier Appel/The Last Cry (Marrugeku in association with Arts House as part of Dance Massive)
Cody Lavery and Kyall Shanks – Universal Estate (Antony Hamilton Projects in association with Arts House as part of Dance Massive)
Alice Dixon, Caroline Meaden, William McBride and Mark Wilson – Doors Shut (Alice Will Caroline feat. Mark in association with Temperance Hall)
Visual Design
Benjamin Cisterne (Lighting) – I have loved the stars too fondly… (Rachel Arianne Ogle in association with The SUBSTATION as part of Dance Massive)
Vicki Van Hout, Karen Norris, Martin Abboud, Dominic O'Donnell (Video/Set/Light) – Plenty Serious Talk Talk (Vicki Van Hout in association with Arts House and YIRRAMBOI Festival)
Matthew Adey, Antony Hamilton, Bosco Shaw (Object/Set/Light) – Universal Estate (Antony Hamilton Projects in association with Arts House as part of Dance Massive)
Mirabella Wouters (Set) – High Performance Packing Tape (Branch Nebula in association with Melbourne International Arts Festival and Arts House)
Creature Technology Company, Antony Hamilton, Blair Hart, Paula Levis, Andrew Treloar and Bosco Shaw (Objects/Costume/Light) – Token Armies (Chunky Move in association with Melbourne International Arts Festival and Arts House)
Music Composition or Sound Design
Chris Clark – Woof (Sydney Dance Company)
Phil Downing – Plenty Serious Talk Talk (Vicki Van Hout in association with Arts House and YIRRAMBOI Festival)
Aviva Endean – Token Armies (Chunky Move in association with Melbourne International Arts Festival and Arts House)
Amelia Barden – Adherence (Sandra Parker)
Andrew Wilson – What Am I Supposed To Do? (WAISTD) (Sarah Aiken and Rebecca Jensen / Deep Soulful Sweats, Arts Centre Melbourne Take Over! Commission in association with Melbourne Fringe)
Shirley McKechnie Award for Choreography
Melanie Lane – Woof (Sydney Dance Company)
Thomas E.S. Kelly – CO_EX_EN (Arts House and Karul Projects as part of Dance Massive)
Russell Dumas – Cultural Residues 2020 (Dancehouse as part of Dance Massive)
Siobhan McKenna – Utterance (Dancehouse as part of Dance Massive)
Production
Biladurang (Joel Bray in association with Arts House as part of Dance Massive)
Le Dernier Appel/The Last Cry (Marrugeku in association with Arts House as part of Dance Massive)
Plenty Serious Talk Talk (Vicki Van Hout in association with Arts House and YIRRAMBOI Festival)
Token Armies (Chunky Move in association with Melbourne International Arts Festival and Arts House)
What Am I Supposed To Do? (WAISTD) (Sarah Aiken and Rebecca Jensen / Deep Soulful Sweats, Arts Centre Melbourne Take Over! Commission in association with Melbourne Fringe)
THEATRE COMPANIES
'Wake in Fright'. Photo by Pia Jhnson
Outstanding Performance (2 Winners)
Jing-Xuan Chan – Golden Shield (Melbourne Theatre Company)
Michael Wahr – Shakespeare in Love (Melbourne Theatre Company)
Ursula Yovich – Barbara and the Camp Dogs (Belvoir)
Steve Bastoni – A View from the Bridge (Melbourne Theatre Company)
Elaine Crombie – Barbara and the Camp Dogs (Belvoir)
Helen Morse – 33 Variations (Cameron Lukey & Neil Gooding Productions with Ellis Productions)
Yuchen Wang – Golden Shield (Melbourne Theatre Company)
Lighting Design
Verity Hampson – Wake in Fright (Malthouse Theatre)
Nick Schlieper – Photograph 51 (Melbourne Theatre Company)
Lisa Mibus – Pomona (Red Stitch Actors’ Theatre)
Damien Cooper – Golden Shield (Melbourne Theatre Company)
Niklas Pajanti – A View from the Bridge (Melbourne Theatre Company)
Set and Costume Design
Christina Smith (Set) – A View from the Bridge (Melbourne Theatre Company)
Gabriela Tylesova (Costume) – Shakespeare in Love (Melbourne Theatre Company)
Jonathan Hindmarsh (Set &Costume) – Pomona (Red Stitch Actors’ Theatre)
The Sisters Hayes (Set, Costume, AV) – Golden Shield (Melbourne Theatre Company)
Anna Tregloan (Set & Costume) – The Miser (Bell Shakespeare)
Music, Composition and Sound Design
friendships (Composition) and James Paul (Sound) – Wake in Fright (Malthouse Theatre)
Adm Ventoura, Ursula Yovich and Alana Valentine (Songs) – Barbara and the Camp Dogs (Belvoir)
Kelly Ryall – A View from the Bridge (Melbourne Theatre Company)
Daniel Nixon – Oil (Red Stitch Actors’ Theatre)
Kelly Ryall – Pomona (Red Stitch Actors’ Theatre)
Writing/Adaptation for the Australian Stage
Alana Valentine and Ursula – Yovich Barbara and the Camp Dogs (Belvoir)
Finegan Kruckemeyer – A Violent Outburst That Drew Me To You (Melbourne Theatre Company)
Michael Chan, Mark Deans, Bruce Gladwin, Simon Laherty, Sarah Mainwaring, Scott Price, Sonia Teuben – The Shadow Whose Prey the Hunter Becomes (Back to Back Theatre)
Nakkiah Lui – Black is the New White (Sydney Theatre Company)
Anchuli Felicia – King Golden Shield (Melbourne Theatre Company)
Direction
Iain Sinclair – A View from the Bridge (Melbourne Theatre Company)
Leticia Cáceres – Barbara and the Camp Dogs (Belvoir)
Bruce Gladwin – The Shadow Whose Prey the Hunter Becomes (Back to Back Theatre)
Sarah Goodes – Golden Shield (Melbourne Theatre Company)
Gary Abrahams – Pomona (Red Stitch Actors’ Theatre)
Production
A View from the Bridge (Melbourne Theatre Company)
Barbara and the Camp Dogs (Belvoir)
Golden Shield (Melbourne Theatre Company)
Pomona (Red Stitch Actors’ Theatre)
The Shadow Whose Prey the Hunter Becomes (Back to Back Theatre)
MUSICAL THEATRE
'Sunday in the Park with George'
Lead Role (2 winners)
Kurt Kansley – Ragtime (The Production Company)
Vidya Makan – Sunday in the Park with George (Watch This)
Richard Piper – Come From Away (Junkyard Dog Productions, Rodney Rigby
Natalie Abbott – Muriel’s Wedding (Global Creatures with Sydney Theatre Company)
Ainsley Melham – Kiss of the Spiderwoman (Melbourne Theatre Company)
Zoe Gertz – Come from Away (Junkyard Dog Productions, Rodney Rigby)
Ryan Gonzales – Jersey Boys (Dodger Theatricals, Rodney Rigby, TEG Dainty, Joseph J. Grano, Pelican Group, Michael Watt, Tommy Mottola in association with Latitude Link & Anita Waxman)
Georgina Hopson – Ragtime (The Production Company)
Sam Hagen – Legally Blonde (James Terry Collective)
Anthony Warlow – Sweeney Todd (TEG, Life Like Company)
Supporting Role (2 winners)
Stefanie Jones – Muriel's Wedding (Global Creatures with Sydney Theatre Company)
Adam-Jon Fiorentino – Body Of Work
John O'May – Ragtime (The Production Company)
Queenie Van De Zandt – Thoroughly Modern Millie (The Production Company)
Sam Skuthorp – The Beautiful Game (Manilla Street Productions)
Kirby Burgess – Barnum (Storyboard Entertainment in association with National Institute of Circus Arts Australia, Yourshow & JTM Productions)
Cameron McDonald – Jersey Boys (Dodger Theatricals, Rodger Rigby, TEG Dainty, Joseph J. Grano, Pelican Group, Michael Watt, Tommy Mottola in association with Latitude Link & Anita Waxman)
Willow Sizer – Body of Work
Verity Hunt-Ballard – A Little Night Music (Victorian Opera)
Evan Lever – Legally Blonde (James Terry Collective)
Ensemble
The Band – Rebel (Starlight Productions, LSS Productions, Front & Centre Productions)
The Company – Jersey Boys (Dodger Theatricals, Rodger Rigby, TEG Dainty, Joseph J. Grano, Pelican Group, Michael Watt, Tommy Mottola in association with Latitude Link & Anita Waxman)
The Company – Ghost Quartet (Antipodes Theatre Company)
The Company – Come From Away (Junkyard Dog Productions, Rodney Rigby)
The Circus Performers – Barnum (Storyboard Entertainment in association with National Institute of Circus Arts Australia, Yourshow & JTM Productions)
Original Australian Writing
Drew Downing (Book, Music & Lyrics) – Rebel (Starlight Productions, LSS Productions, Front & Centre Productions)
PJ Hogan (Book), Kate Miller-Heidke & Keir Nuttall (Music & Lyrics) – Muriel's Wedding (Global Creatures with Sydney Theatre Company)
Sound Design
Marcello Lo Ricco – The Beautiful Game (Manilla Street Productions)
Jack Scandrett – Everything's Coming Up Sondheim (Spears Entertainment)
Gareth Owen – Come From Away (Junkyard Dog Productions, Rodney Rigby)
System Sound – Body of Work (The Production Company)
Nick Walker – Kiss of the Spiderwoman (Melbourne Theatre Company)
Set Design
Alicia Clements – Kiss of the Spiderwoman (Melbourne Theatre Company)
Beowulf Boritt – Come From Away (Junkyard Dog Productions, Rodney Rigby)
Christina Smith – Thoroughly Modern Millie (The Production Company)
Gabriela Tylesova – Muriel’s Wedding (Global Creatures with Sydney Theatre Company)
Sarah Tulloch – Bright Star (Pursued By Bear)
Costume Design
Jodi Hope – Bright Star (Pursued By Bear)
Gabriela Tylesova – Muriel’s Wedding (Global Creatures with Sydney Theatre Company)
Isaac Lummis – Thoroughly Modern Millie (The Production Company)
Jacinda Hall – Legally Blonde (James Terry Collective)
Toni-Leslie James – Come From Away (Junkyard Dog Productions, Rodney Rigby)
Lighting and Multimedia Design
Howell Binkley (Lighting) – Come From Away (Junkyard Dog Productions, Rodney Rigby)
Dean Drieberg & Damian Dunne, Milked Studios (Multimedia) – Sunday In The Park With George (Watch This)
Nick Roux (Multimedia) – Lazarus (By arrangement with Robert Fox & Jones/Tintoretto Entertainment. The Production Company in association with Mens Mens Theatre)
Trent Suidgeest (Lighting) – Muriel’s Wedding (Global Creatures with Sydney Theatre Company)
Trudy Dalgleish (Lighting) – A Little Night Music (Victorian Opera)
Betty Pounder Award for Excellence in Choreography
Freya List – Bright Star (Pursued By Bear)
Christopher Horsey – Thoroughly Modern Millie (The Production Company)
Andrew Hallsworth – Muriel's Wedding (Global Creatures with Sydney Theatre Company)
Kelly Devine – Come From Away (Junkyard Dog Productions, Rodney Rigby)
Michael Ralph – Legally Blonde (James Terry Collective)
Music Direction
David Butler – Ghost Quartet Antipodes Theatre Company
Katie Weston – Legally Blonde (James Terry Collective)
Luke Hunter – Body of Work
Nathan Firmin – Bright Star (Pursued By Bear)
Phoebe Briggs – A Little Night Music (Victorian Opera)
Direction
Sonya Suares & Dean Drieberg – Sunday In The Park With George (Watch This)
Roger Hodgman – Ragtime (The Production Company)
Michael Kantor – Lazarus (By arrangement with Robert Fox & Jones/Tintoretto Entertainment. The Production Company in association with Mens Mens Theatre)
Christopher Ashley – Come From Away (Junkyard Dog Productions, Rodney Rigby)
Simon Phillips – Muriel's Wedding (Global Creatures with Sydney Theatre Company)
Best Production
Bright Star (Pursued By Bear)
Come From Away (Junkyard Dog Productions, Rodney Rigby)
Legally Blonde (James Terry Collective)
Muriel’s Wedding (Global Creatures with Sydney Theatre Company)
Ragtime (The Production Company)
INDEPENDENT THEATRE
Andi Snelling in 'Happy-Go-Wrong'
Performer (2 winners)
Dylan Watson – Mr Burns: A Post-Electric Play (Lightning Jar Theatre in association with fortyfivedownstairs)
Emma Mary Hall – World Problems (Emma Mary Hall in association with fortyfivedownstairs)
Carly Sheppard – LOVE (fortyfivedownstairs)
Anthony Craig – Private Peaceful (Moving Light Productions Australia in association with Chapel Off Chapel)
Elliott Gee – Batmania, the Bus Tour (Theatre Works and The Very Good Looking Initiative in association with Melbourne Fringe)
Andi Snelling – Happy-Go-Wrong (Melbourne Fringe)
Ruwanie Inosha – The Aussie Ethnic Identity Crisis (The Brown Ballet in association with Melbourne Fringe)
Jillian Murray – The Year of Magical Thinking (fortyfivedownstairs)
Lucy Ansell – She is Vigilante (Theatre Works)
Yumi Umiumare – Unwoman (The Rabble in association with The Substation and Due West)
Ensemble
Mr Burns: A Post-Electric Play (Lightning Jar Theatre in association with fortyfivedownstairs)
THEM (Samah Sabawi and Lara Week in association with La Mama)
Balit Liwurruk: Strong Girl (St Martins)
The Market is a Wind Up Toy (The Bloomshed in association with Theatre Works)
Unwoman (The Rabble in association with The Substation and Due West)
Lighting Design
Richard Vabre – Mr Burns: A Post-Electric Play (Lightning Jar Theatre in association with fortyfivedownstairs)
Matthew Crosby – The Intriguing Case of the Silent Forest (The Thursday Group in association with La Mama)
John Ford & Rachel Burke – Balit Liwurruk: Strong Girl (St Martins)
Andy Turner – The Year of Magical Thinking (fortyfivedownstairs)
Emma Valente – Unwoman (The Rabble in association with The Substation and Due West)
Set, Costume and Video Design
Sophie Woodward (Set/Costume) – Mr Burns: A Post-Electric Play (Lightning Jar Theatre in association with fortyfivedownstairs)
Fleur Dean (Set/Costume) – World Problems (Emma Mary Hall in association with fortyfivedownstairs)
Michael Carmody (Video) – Balit Liwurruk: Strong Girl (St Martins)
Matilda Woodroffe & Hannah Murphy (Set/Costume) – Mad as a Cute Snake (Theatre Works in association with Melbourne Fringe)
Kate Davis (Set/Costume) – Unwoman (The Rabble in association with The Substation and Due West)
Music Composition and Sound Design
S. S. Sebastian (Composition) – World Problems (Emma Mary Hall in association with fortyfivedownstairs)
Naretha Williams – Balit Liwurruk: Strong Girl (St Martins)
Liesl Pieterse – The Voices of Joan of Arc (Melbourne Fringe)
Kellie-Anne Kimber – Batmania, the Bus Tour (The Very Good Looking Initiative in association with Theatre Works and Melbourne Fringe)
Justin Gardam – The Market is a Wind-Up Toy (The Bloomshed in association with Theatre Works)
Writing
Emma Mary Hall – World Problems (Emma Mary Hall in association with fortyfivedownstairs)
Patricia Cornelius – LOVE (fortyfivedownstairs)
Samah Sabawi – THEM (Samah Sabawi and Lara Week in association with La Mama)
Rory Godbold – When The Light Leaves (High Line Theatre and Citizen Theatre in association with La Mama)
Andi Snelling – Happy-Go-Wrong (Melbourne Fringe)
Direction
John Kachoyan – Mr Burns: A Post-Electric Play (Lightning Jar Theatre in association with fortyfivedownstairs)
Susie Dee – LOVE (fortyfivedownstairs)
Bagryana Popov – THEM (Samah Sabawi and Lara Week in association with La Mama)
Anthony Negus – The Flying Dutchman (Melbourne Opera)
Ray Lawrence – Norma (Melbourne Opera)
Daniel Smith – Il Viaggio a Reims (Opera Australia)
Outstanding Musical Achievement
Youth Ensemble – The Selfish Giant (Victorian Opera)
Ensemble Cast – Il Viaggio a Reims (Opera Australia)
Simon Bruckard and Emma Muir Smith – New Australian Opera, The Selfish Giant (Victorian Opera)
Programming – Fly (Lyric Opera)
Direction
David McVicar – Faust (Opera Australia)
Damiano Michieletto – Il Viaggio a Reims (Opera Australia)
Lara Kerestes – Fly (Lyric Opera)
Cameron Menzies – The Selfish Giant (Victorian Opera)
Best Production
Faust (Opera Australia)
Il Viaggio a Reims (Opera Australia)
Parsifal(Victorian Opera)
Fly (Lyric Opera)
The Flying Dutchman(Melbourne Opera)
CABARET
Selina Jenkins
Artiste
Evelyn Krape – The Ghetto Cabaret (fortyfivedownstairs)
Sarah Ward – The Legend of Queen Kong Episode II: Queen Kong in Outer Space (Sarah Ward in association with Auspicious Projects and Briefs Factory)
Selina Jenkins – Boobs (as part of Melbourne Fringe)
Ensemble
Creatures Lost (Picked Last For Sport in association with The Butterfly Club as part of Melbourne Fringe)
Pamela’s Palace(Interactive Theatre International as part of Melbourne International Comedy Festival)
Poopie Tum Tums (The Very Good Looking Initiative in association with The Butterfly Club as part of Melbourne International Comedy Festival)
Yummy Deluxe (Yummy Productions as part of Melbourne Fringe)
Writing
Honor Wolff and Patrick Durnan Silva – Poopie Tum Tums (The Very Good Looking Initiative in association with The Butterfly Club as part of Melbourne International Comedy Festival)
Picked Last For Sport – Creature's Lost (Picked Last For Sport in association with The Butterfly Club as part of Melbourne Fringe)
Sarah Ward – The Legend of Queen Kong Episode II: Queen Kong in Outer Space (Sarah Ward in association with Auspicious Projects and Briefs Factory)
Selina Jenkins – Boobs (as part of Melbourne Fringe)
Original songs
Picked Last For Sport – Creature's Lost (Picked Last For Sport in association with The Butterfly Club as part of Melbourne Fringe)
Sarah Ward, Bec Matthews, Jo Franklin, Gen Bernstein and Cerise Howard - The Legend ofQueen Kong Episode II: Queen Kong in Outer Space (Sarah Ward in association with Auspicious Projects and Briefs Factory)
Selina Jenkins – Boobs (as part of Melbourne Fringe)
Willow Sizer and Rachel Lewindon – Death of A Demi Diva (as part of Melbourne Cabaret Festival)
Musical Direction
Scott Griffiths – The Ghetto Cabaret (fortyfivedownstairs)
Victoria Falconer – Fringe Wives Club – Glittergrass (Laura Milke-Garner as part of Melbourne International Comedy Festival)
Willow Sizer – Death of A Demi Diva (as part of Melbourne Cabaret Festival)
Production
Boobs(Selina Jenkins as part of Melbourne Fringe)
Gender Euphoria (Mama Alto and Maude Davey as part of Melbourne International Arts Festival)
Poopie Tum Tums (The Very Good Looking Initiative in association with The Butterfly Club as part of Melbourne International Comedy Festival)
The Ghetto Cabaret (fortyfivedownstairs)
The Legend of Queen Kong Episode II: Queen Kong in Outer Space (Sarah Ward in association with Auspicious Projects and Briefs Factory)
Design
The Ghetto Cabaret (fortyfivedownstairs)
The Legend of Queen Kong Episode II: Queen Kong in Outer Space (Sarah Ward in Association with Auspicious Projects and Briefs Factory)
Yummy Deluxe (Yummy Productions as part of Melbourne Fringe)
CONTEMPORARY AND EXPERIMENTAL PERFORMANCE
Bron Batten in 'Waterloo'
Production (3 Winners)
Daddy – Joel Bray (presented by Arts House and YIRRAMBOI Festival)
Diaspora – A Chamber Made work by Robin Fox and Collaborators (in association with Melbourne International Arts Festival and The SUBSTATION)
Exit Strategies – Mish Grigor/APHIDS (presented by Arts House)
Subliminal Massage – Marcus Ian McKenzie (presented by Club Greg as part of Melbourne Fringe Festival)
Those Who Rock – Joseph O'Farrell (JOF) (presented by Arts Centre Melbourne)
Waterloo – Bron Batten (presented by Brunswick Mechanics Institute as part of Melbourne Fringe Festival)
Circus
Common Dissonance – Na Djinang Circus (presented by The Melba Spiegeltent - Sidesault Festival and Circus Oz)
The Drill – Women’s Circus (presented by Due West Festival)
Invisible Things – Alex Mizzen (presented by The Melba Spiegeltent - Sidesault Festival and Circus Oz)
Party Ghost – Poached Eggs & Asparagus (as part of Melbourne International Comedy Festival)
Visual Design
Auto-Cannibal – Paul Lim (Lighting Design), Oozing Future (presented by Theatre Works)
Daddy – James Lew (Set and Costume), Katie Sfetkidis (Lighting), Joel Bray (presented by Arts House and YIRRAMBOI Festival)
Diaspora – Robin Fox (Lasers), Nick Roux (Video Art and System Design), Amelia Lever-Davidson (Lighting Design) and Shio Otani (Costume Design), Chamber Made (in association with Melbourne International Arts Festival and The SUBSTATION)
EVERYWHEN – Matthias Schack-Arnott (in association with Melbourne International Arts Festival and The SUBSTATION)
Seduction – Gold Satino (as part of Melbourne Fringe Festival)
Sound Performance and Design
Diaspora – A Chamber Made work by Robin Fox and collaborators (in association with Melbourne International Arts Festival and The SUBSTATION)
EVERYWHEN – Matthias Schack-Arnott and Tilman Robinson (in association with Melbourne International Arts Festival and The SUBSTATION)
Sonic Labyrinth – Aviva Endean & Justin Marshall (presented by Melbourne Fringe and ArtPlay)
The Violin Generator – Jon Rose with co-curation by Kali Michailidis (presented by The SUBSTATION in conjunction with Tura New Music)
Program
Speakeasy – Darebin Arts
Future Assembly – Arts House
Melba Spiegeltent – Circus Oz
The SUBSTATION
Performer (2 Winners)
Jess Kapuscinski-Evans – A Normal Child by Disability Slapstick Plan and Ridiculusmus (presented by Darebin Arts Speakeasy)
Joel Bray – Daddy (presented by Arts House and YIRRAMBOI Festival)
Leah Shelton – Bitch on Heat (presented by Theatre Works)
Marcus McKenzie – Subliminal Massage (presented by Club Greg as part of Melbourne Fringe Festival)
Maude Davey – Never... Calm Down! (presented by The Melba Spiegeltent - Sidesault and Circus Oz)
Ensemble
A Normal Child – Disability Slapstick Plan and Ridiculusmus (presented by Darebin Arts Speakeasy)
Diaspora – Robin Fox, Erkki Veltheim, Georgie Darvidis, Madeleine Flynn (A Chamber Made Work by Robin Fox and collaborators in association with Melbourne International Arts Festival and The SUBSTATION)
Public Actions – Luke George & Collaborators (presented by Arts House as part of Dance Massive)
Flutter and Flounce – PO PO MO CO (as part of Melbourne Fringe Festival)
SPECIAL AWARDS
Daniel Clarke
Outstanding Contribution to Cabaret
Daniel Clarke
Geoffrey Milne Award for Outstanding Contribution to Independent Theatre
