18 February 2020

Green Room Award nominees announced

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 BemetYears Work (The Australian Ballet)
  •  Marlo BenjaminSkeleton Tree (Stephanie Lake Company in association with Malthouse Theatre as part of Dance Massive)
  • Joel BrayBiladurang (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 JensenMake Your Own World (Lucy Guerin Inc in association with Arts House as part of Dance Massive)
  •  Marcus MorelliSylvia (The Australian Ballet)
  • Dalisa PigramLe Dernier Appel/The Last Cry (Marrugeku in association with Arts House as part of Dance Massive)
  •  Thomas E.S. KellyCO_EX_EN (Karul Projects in association with Arts House as part of Dance Massive)
  •  Vicky Van HoutPlenty Serious Talk Talk (Vicki Van Hout in association with Arts House and YIRRAMBOI Festival) 
  •  Paul WhiteCella (Narelle Benjamin in association with Arts House as part of Dance Massive)
Duet and Ensemble Performance
  • Sydney Dance CompanyWoof (Sydney Dance Company)
  • Jonathan Sinatra, Stuart Shugg, Alexandra Petrarca, David Huggins, Linda Sastradipradja, Rachel Doust, Megan PayneCultural Residues 2020 (Russell Dumas in association with Dancehouse as part of Dance Massive)
  • MarrugekuLe Dernier Appel/The Last Cry (Marrugeku in association with Arts House as part of Dance Massive)
  • Cody Lavery and Kyall ShanksUniversal 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 ClarkWoof (Sydney Dance Company)
  • Phil DowningPlenty Serious Talk Talk (Vicki Van Hout in association with Arts House and YIRRAMBOI Festival)
  • Aviva EndeanToken Armies (Chunky Move in association with Melbourne International Arts Festival and Arts House)
  • Amelia BardenAdherence (Sandra Parker)
  • Andrew WilsonWhat 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 LaneWoof (Sydney Dance Company)
  • Thomas E.S. KellyCO_EX_EN (Arts House and Karul Projects as part of Dance Massive)
  • Russell DumasCultural Residues 2020 (Dancehouse as part of Dance Massive)
  • Siobhan McKennaUtterance (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 WahrShakespeare in Love (Melbourne Theatre Company)
  • Ursula YovichBarbara and the Camp Dogs (Belvoir)
  • Steve BastoniA View from the Bridge (Melbourne Theatre Company)
  • Daniela FarinacciOil (Red Stitch Actors’ Theatre)
  • Natasha Herbert Cloudstreet (Malthouse Theatre and Black Swan State Theatre Company)
  • Naomi Rukavina Control (Red Stitch Actors’ Theatre)
  • Zahra NewmanWake in Fright (Malthouse Theatre)
  • William McKennaHarry Potter and the Cursed Child (Sonia Friedman Productions, Colin Callender and Harry Potter Theatrical Productions)
  • Carly SheppardAnthem (Performing Lines in association with Arts Centre Melbourne and Melbourne International Arts Festival)
Ensemble
  • The Temple (Malthouse Theatre)
  • A View from the Bridge (Melbourne Theatre Company)
  • Ulster American (Red Stitch Actors’ Theatre)
  • The Shadow Whose Prey the Hunter Becomes (Back to Back Theatre)
  • Pomona (Red Stitch Actors’ Theatre)
Outstanding Performance in a Featured Role
  • Andrew CoshanA View from the Bridge (Melbourne Theatre Company)
  • Natalie GamsuDance Nation (Red Stitch Actors’ Theatre)
  • Elaine CrombieBarbara and the Camp Dogs (Belvoir)
  • Helen Morse33 Variations (Cameron Lukey & Neil Gooding Productions with Ellis Productions)
  • Yuchen WangGolden Shield (Melbourne Theatre Company)
Lighting Design
  • Verity HampsonWake in Fright (Malthouse Theatre)
  • Nick SchlieperPhotograph 51 (Melbourne Theatre Company)
  • Lisa MibusPomona (Red Stitch Actors’ Theatre)
  • Damien CooperGolden Shield (Melbourne Theatre Company)
  • Niklas PajantiA 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 RyallA View from the Bridge (Melbourne Theatre Company)
  • Daniel NixonOil (Red Stitch Actors’ Theatre)
  • Kelly Ryall Pomona (Red Stitch Actors’ Theatre)
Writing/Adaptation for the Australian Stage
  • Alana Valentine and UrsulaYovich Barbara and the Camp Dogs (Belvoir)
  • Finegan KruckemeyerA 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 LuiBlack is the New White (Sydney Theatre Company)
  • Anchuli FeliciaKing Golden Shield (Melbourne Theatre Company)
Direction
  • Iain Sinclair – A View from the Bridge (Melbourne Theatre Company)
  • Leticia CáceresBarbara and the Camp Dogs (Belvoir)
  • Bruce GladwinThe Shadow Whose Prey the Hunter Becomes (Back to Back Theatre)
  • Sarah GoodesGolden Shield (Melbourne Theatre Company)
  • Gary AbrahamsPomona (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 KansleyRagtime (The Production Company)
  • Vidya Makan – Sunday in the Park with George (Watch This)
  • Richard PiperCome From Away (Junkyard Dog Productions, Rodney Rigby
  • Natalie AbbottMuriel’s Wedding (Global Creatures with Sydney Theatre Company)
  • Ainsley Melham Kiss of the Spiderwoman (Melbourne Theatre Company)
  • Zoe GertzCome from Away (Junkyard Dog Productions, Rodney Rigby)
  • Ryan GonzalesJersey Boys (Dodger Theatricals, Rodney Rigby, TEG Dainty, Joseph J. Grano, Pelican Group, Michael Watt, Tommy Mottola in association with Latitude Link & Anita Waxman)
  • Georgina HopsonRagtime (The Production Company)
  • Sam Hagen Legally Blonde (James Terry Collective)
  • Anthony WarlowSweeney Todd (TEG, Life Like Company)

Supporting Role (2 winners)
  • Stefanie Jones Muriel's Wedding (Global Creatures with Sydney Theatre Company)
  • Adam-Jon FiorentinoBody Of Work
  • John O'MayRagtime (The Production Company)
  • Queenie Van De ZandtThoroughly Modern Millie (The Production Company)
  • Sam Skuthorp The Beautiful Game (Manilla Street Productions)
  • Kirby BurgessBarnum (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 SizerBody of Work
  • Verity Hunt-BallardA Little Night Music (Victorian Opera)
  • Evan LeverLegally Blonde (James Terry Collective)
Ensemble
  • The BandRebel (Starlight Productions, LSS Productions, Front & Centre Productions)
  • The CompanyJersey Boys (Dodger Theatricals, Rodger Rigby, TEG Dainty, Joseph J. Grano, Pelican Group, Michael Watt, Tommy Mottola in association with Latitude Link & Anita Waxman)
  • The CompanyGhost Quartet (Antipodes Theatre Company)
  • The CompanyCome From Away (Junkyard Dog Productions, Rodney Rigby)
  • The Circus PerformersBarnum (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 RiccoThe 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 WalkerKiss 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 SmithThoroughly Modern Millie (The Production Company)
  • Gabriela TylesovaMuriel’s Wedding (Global Creatures with Sydney Theatre Company)
  • Sarah Tulloch Bright Star (Pursued By Bear)
Costume Design
  • Jodi HopeBright Star (Pursued By Bear)
  • Gabriela TylesovaMuriel’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 JamesCome 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 ListBright Star (Pursued By Bear)
  • Christopher HorseyThoroughly Modern Millie (The Production Company)
  • Andrew HallsworthMuriel's Wedding (Global Creatures with Sydney Theatre Company)
  • Kelly Devine Come From Away (Junkyard Dog Productions, Rodney Rigby)
  • Michael RalphLegally Blonde (James Terry Collective)
Music Direction
  • David ButlerGhost Quartet Antipodes Theatre Company
  • Katie Weston Legally Blonde (James Terry Collective)
  • Luke Hunter – Body of Work
  • Nathan Firmin Bright Star (Pursued By Bear)
  • Phoebe BriggsA Little Night Music (Victorian Opera)
Direction
  • Sonya Suares & Dean DriebergSunday In The Park With George (Watch This)
  • Roger HodgmanRagtime (The Production Company)
  • Michael KantorLazarus (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 PhillipsMuriel'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 WatsonMr Burns: A Post-Electric Play (Lightning Jar Theatre in association with fortyfivedownstairs)
  • Emma Mary HallWorld Problems (Emma Mary Hall in association with fortyfivedownstairs)
  • Carly Sheppard LOVE (fortyfivedownstairs)
  • Anthony CraigPrivate Peaceful (Moving Light Productions Australia in association with Chapel Off Chapel)
  • Elliott GeeBatmania, the Bus Tour (Theatre Works and The Very Good Looking Initiative in association with Melbourne Fringe)
  • Andi SnellingHappy-Go-Wrong (Melbourne Fringe)
  • Ruwanie Inosha – The Aussie Ethnic Identity Crisis (The Brown Ballet in association with Melbourne Fringe)
  • Jillian MurrayThe Year of Magical Thinking (fortyfivedownstairs)
  • Lucy AnsellShe is Vigilante (Theatre Works)
  • Yumi UmiumareUnwoman (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 VabreMr Burns: A Post-Electric Play (Lightning Jar Theatre in association with fortyfivedownstairs)
  • Matthew CrosbyThe 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 TurnerThe 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 PieterseThe Voices of Joan of Arc (Melbourne Fringe)
  • Kellie-Anne KimberBatmania, the Bus Tour (The Very Good Looking Initiative in association with Theatre Works and Melbourne Fringe)
  • Justin GardamThe Market is a Wind-Up Toy (The Bloomshed in association with Theatre Works)
Writing
  • Emma Mary HallWorld Problems (Emma Mary Hall in association with fortyfivedownstairs)
  • Patricia CorneliusLOVE (fortyfivedownstairs)
  • Samah Sabawi THEM (Samah Sabawi and Lara Week in association with La Mama)
  • Rory GodboldWhen The Light Leaves (High Line Theatre and Citizen Theatre in association with La Mama)
  • Andi Snelling Happy-Go-Wrong (Melbourne Fringe)
Direction
  • John KachoyanMr Burns: A Post-Electric Play (Lightning Jar Theatre in association with fortyfivedownstairs)
  • Susie DeeLOVE (fortyfivedownstairs)
  • Bagryana PopovTHEM (Samah Sabawi and Lara Week in association with La Mama)
  • Nadja KostichBalit Liwurruk: Strong Girl (St Martins)
  • Kate Davis & Emma ValenteUnwoman (The Rabble in association with The Substation and Due West)
Production
  • Mr Burns: A Post-Electric Play (Lightning Jar Theatre in association with fortyfivedownstairs)
  • World Problems (Emma Mary Hall in association with fortyfivedownstairs)
  • Balit Liwurruk: Strong Girl (St Martins)
  • Unwoman (The Rabble in association with The Substation and Due West)
  • THEM (Samah Sabawi and Lara Week in association with La Mama)

OPERA 
 
'Norma'

Female Lead
  • Lee AbrahmsenThe Flying Dutchman (Melbourne Opera)
  • Jacqui DarkNorma (Melbourne Opera)
  • Jane EdeCosi Fan Tutte (Opera Australia)
  • Katarina Dalayman – Parsifal (Victorian Opera)
  • Kara SonTurandot (Opera Australia)
Male Lead
  • Teddy Tahu RhodesFaust (Opera Australia)
  • Derek Welton Parsifal (Victorian Opera)
  • Amartuvshin EnkhbatRigoletto (Opera Australia)
  • Rosiario La SpinaThe Flying Dutchman (Melbourne Opera)
  • Darren JefferyThe Flying Dutchman (Melbourne Opera)
Artist in a Supporting Role
  • Luke Gabbedy – Faust (Opera Australia)
  • Eddie Muliaumaseali’iNorma (Melbourne Opera)
  • Teddy Tahu RhodesParsifal (Victorian Opera)
  • Anna Dowsley – Faust (Opera Australia)
  • Lisette BoltonFly (Lyric Opera)
Lighting, Set and Costume Design
  • Rob Sowinski (Lighting) – The Flying Dutchman (Melbourne Opera)
  • Tom Petty, Richard Vabre (Sets and Lighting) – Fly (Lyric Opera)
  • James Browne (Set and Cotumes) – The Selfish Giant (Victorian Opera)
  • Paolo Fantin, Carla Teti, Alessandro Carletti (Sets, Costumes, Lighting) – Il Viaggio a Reims (Opera Australia)
  • Charles Edwards, Brigitte Reiffenstuel, Paule Constable (Sets, Costumes, Lighting) – Faust (Opera Australia)
Conductor
  • Christian BadeaTurandot (Opera Australia)
  • Guillaume TourniaireFaust (Opera Australia)
  • Anthony Negus – The Flying Dutchman (Melbourne Opera)
  • Ray LawrenceNorma (Melbourne Opera)
  • Daniel SmithIl Viaggio a Reims (Opera Australia)
Outstanding Musical Achievement
  • Youth EnsembleThe Selfish Giant (Victorian Opera)
  • Ensemble CastIl Viaggio a Reims (Opera Australia)
  • Simon Bruckard and Emma Muir Smith – New Australian Opera, The Selfish Giant (Victorian Opera)
  • ProgrammingFly (Lyric Opera)
Direction
  • David McVicar Faust (Opera Australia)
  • Damiano MichielettoIl 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 KrapeThe 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 JenkinsBoobs (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 SilvaPoopie Tum Tums (The Very Good Looking Initiative in association with The Butterfly Club as part of Melbourne International Comedy Festival)
  • Picked Last For SportCreature's Lost (Picked Last For Sport in association with The Butterfly Club as part of Melbourne Fringe)
  • Sarah WardThe Legend of Queen Kong Episode II: Queen Kong in Outer Space (Sarah Ward in association with Auspicious Projects and Briefs Factory)
  • Selina JenkinsBoobs (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 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)
  • Willow Sizer and Rachel LewindonDeath of A Demi Diva (as part of Melbourne Cabaret Festival)
Musical Direction
  • Scott GriffithsThe Ghetto Cabaret (fortyfivedownstairs)
  • Victoria Falconer – Fringe Wives Club – Glittergrass (Laura Milke-Garner as part of Melbourne International Comedy Festival)
  • Willow SizerDeath 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 BrayDaddy (presented by Arts House and YIRRAMBOI Festival)
  • Leah SheltonBitch on Heat (presented by Theatre Works)
  • Marcus McKenzie – Subliminal Massage (presented by Club Greg as part of Melbourne Fringe Festival)
  • Maude DaveyNever... 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
  • Caitlin Dullard

ASSOCIATION AWARDS

Technical Achievement
  • Emily O’Brien

Lifetime Achievement
  • Jenny Kemp

10 February 2020

WORKSHOP: How to get media attention

WORKSHOP
How to get media attention during the comedy festival
Monday 24 February, 5.30
The Butterfly Club
thebutterflyclub.com



Ever struggled with getting a review, an interview or even a reply from arts media?

During the comedy festival, you’re competing with hundreds of other shows and it seems like less is being published. How do media choose what they are going to cover?

This workshop is about making the seemingly impossible easier, especially when you’re doing your own publicity or are new to the publicity scene.

You’ll come away with a much better understanding of how arts media works in Melbourne, insider knowledge about how to get media to enthusiastically answer your email/return your call, ideas about other media to approach, knowing how to open up the hidden world of independent media, and ideas about how to make independent coverage work for your show.

And you get to hang out in the gorgeous Butterfly Club as you ask a journalist – me – questions and share stories and hints with other artists.

23 December 2019

What I Loved in 2019: The best of Melbourne theatre. And thank you

This year I saw a lot of new work and emerging artists, which is how I started writing about theatre. Many of those artists and companies from the early days are now on our main stages, where indie criticism isn't as welcome and masthead criticsm is reduced to an adjective. I do both.

Seeing new work and watching companies and artists develop is one of the most satisfying parts of being a theatre writer. When you see something remarkable in a tiny room, you come back and see them again and again. Watching other people discover that same remarkable is amazing.

If you have to choose between seeing one big show or 20 small ones, see the small ones. You'll feel better.

There's such a demand for indie critics and writers because, no matter how tough it gets, our indie performers, companies and venues keep making work.

Independent and emerging performers, if you want people to see your work and write about it, find the voices or publications that you like and read or listen to or follow. There will be someone who totally gets your work and will be the voice that describes your art in ways that makes other people want to see you.

If you don't know who those reviewers they are yet, read, listen to and follow indie voices!

If you want to write about or talk about theatre, just start doing it. Don't rely on it being a paid job and don't despair if you're not read by thousands. Keep going; it'll happen. Keep seeing work. And when you find those shows and artists that you totally understand, your work becomes part of the community.

(And, keep an eye out because I will be running more writing workshops and publicity workshops next year.)

If you're on those big stages and see work on those stages and wonder why all you ever see is star ratings, ask why and speak up.


Sometimes Melbourne celebrates nearly 14 years of writing about theatre in Melbourne.

I don't know what's going to happen next year, but it's time for Sometimes Melbourne to have a break. It's a difficult decision but I don't have the resources or support to keep it going. I'll still write for other publications, teach and see as many shows as possible.

Thank you to every artists and show I've seen. You're all amazing. Thank you for the messages and conversations. Thank you for your work. You make a difference.


And here are my favourite shows and artists of 2019. I'd see every one of them again.

Outstanding artists 2019


WRITING

Zoey Dawson for Australian Realness at Malthouse

Emily Goddard, Chanella Marci. "Australian Realness" Photo by Pia Johnson

Bridget Mackey for Love/Chamberlain at Theatre Works

Rebekah Hill, Dana Miltins. "Love Chamberlain"

Special mention

Wil Greenway for Either Side of Everything at MICF

Will Greenway
DESIGN

Costume 
Gabriela Tylesova for Muriel's Wedding: The Musical, Global Creatures in association with Sydney Theatre Company

"Muriel's Wedding"

Set/lighting
Kate Davies/Emma Valente for Unwoman, The Rabble at The Substation

"Unwoman" by The Rabble. Photo by Pier Carthew

Lighting
Clare Springett for Oil at Red Stitch.

"Oil". Photo by John Lloyd Fillingham

PERFORMANCE

The cast of Anthem, Arts Centre Melbourne at MIAF

Maude Davey, Reef Ireland, Ruci Kaisila, Thuso Lekwape, Amanda Ma, Maria Mercedes, Tony Nikolakopoulos, Eryn Jean Norvill, Sahil Saluja, Osamah Sami, Eva Seymour, Carly SheppardJenny M Thomas, Dan Witton 

"Anthem" Photo by Pia Johnson

The cast of Unwoman, The Rabble at The Substation
Part I: Annalise Matthews, Toni Main, Robyn McMicking, Anna Nottle and Mattie Young
Part II: Dana Miltins and Mary Helen Sassman
Part II: Yumi Umiumare
Testimonials ead by Mila Jennings


Special mentions

Helena Dix as Norma in Norma, Melbourne Opera

Nick Simpson-Deeks as George in Sunday in the Park with George, Watch This

Christie Whelan Brown as Tania in Muriel's Wedding: The Musical, Global Creatures in association with Sydney Theatre Company

Helena Dix. "Norma"



Nick Simspson-Deeks, Vidya Makan. "Sunday in the Park with George"

Keep an eye on

Luisa Scrofani in My Brilliant Career, the Sir Zelman Cowen School of Music, the Centre for Theatre and Performance and Monash Academy of Performing Arts in association with the Jeanne Pratt Musical Theatre Artists in Residence Program.


Luisa Scrofany. "My Brilliant Career"

DIRECTION

Declan Green for Wake in Fright, Malthouse

"Wake in Fright". Photo by Pia Johnson

Everything they do rocks 2019

Everyone at The Butterfly Club for supporting, promoting and presenting independent cabaret, comedy, music and theatre more than anyone else in town.

Everyone includes:
All staff who program, promote and organise.
All the front of house.
All the bar staff.
Anyone I missed.
And everyone involved with Enter Closer, Crowded and the other managed venues during festivals.

The Butterfly Club. Photo by Stano Murin

The Butterfly Club celebrated its 20th birthday this year. After moving from South Melbourne, it's now tucked away in a three-level wonderland in Carson Place in the middle of the city (boxed by Swanston, Elizabeth, Collins and Bourke streets).

Every night there are between two and eight different shows that include regular nights, independent shows and venue-produced shows. They support indie artists from the application process to front of house staff and help with promotion and media.

Artists who perform there talk about being welcomed into a family.

Audiences love the place. From the changing menu of cocktails to hanging around and analysing at the minimalist decor*, it's a joy to be there.

(And one day, there will be some funding to deal with the access issues of a very old building with lots of stairs.)

*not minimalist. My favourites are the art deco cat lamp, the Ginger and Fred series of photos, and the framed and stuffed kitten tea towel.


and


Lessons with Luis

Lessons With Luis

I genuinely don't understand how Luis and his family aren't international superstars.

When I see a Lessons with Luis show, I forget about being a reviewer because I am so happy to be there. The work is so complete that the line between character and performer doesn't exist and they tell a truth about families and grief that is so real that I don't want to be confronted with the idea that it's a performance.

And Luis likes cats. 

This year I saw Stickin' Together at MICF and went to Yadna's 47th Birthday.

Outstanding productions 2019

MUSICAL

Come From Away, multiple producers


"Come From Away". Photo by Jeff Busby

Special mention

Polygamy, Polygayou, produced by Clare Rankine at Melbourne Fringe

"Polygamy, Polygayou". Photo by Ling Duong

COMMERCIAL

Harry Potter and the Cursed Child, parts one and two, multiple producers


COMEDY

Cassie Workman, Giantess at MICF

Cassie Workma
Special mentions
Patrick Collins Mime Consultant at MICF

Joshua Ladgrove pumps your bilge at MICF and Melbourne Fringe

Completely Improvised Potter, Soothplayers at MICF and Melbourne Fringe

Frobert and Ladgrove

"Patrick Collins Mime Consultant"












"Completely Improvised Potter". Photo by Mark Gambi


CABARET

BOOBS by Selina Jenkins at Melbourne Fringe

Special mention

Garbage Monster by Alice Tovey, Hot Mess Productions and The Butterfly Club at MICF


Selina Jenkins

 
Alice Tovey














DANCE

Collossus, Stephanie Lake Company, Arts Centre Melbourne at MIAF

"Collossus"
OPERA

Norma, Melbourne Opera

Best of the best 2019

The Butch Monologues, Theatre Works and Stage Mom at Midsumma


cast of "The Butch Monologues"
Harry Potter and the Cursed Child, parts one and two, multiple producers

"Harry Potter and the Cursed Child"

Keep, Daniel Kitson at MICF

Daniel Kitson

Barbara and the Camp Dogs, Malthouse presents a Belvoir production


Elaine Crombie, Ursula Yovich. "Barbara and the Camp Dogs". Photo by Pia Johnson

Waterloo by Bron Batten at Melbourne Fringe

Bron Batten. "Waterloo". Photo by Theresa Harrison


My favourite show of 2019

The Living Room by Amrita Dhaliwal and Gemma Soldati at Melbourne Fringe

Amrita Dhalial and Gemma Soldati. "The Living Room"
 Which is coming back for comedy festival!

Past favourites.
2018


21 December 2019

What Melbourne loved in 2019, part 11

My best of 2019 will be published on Monday.

Melbourne's most loved shows of 2019 are Daddy, Unwoman, Barbara and The Camp Dogs and Grand Finale.  

What an amazing selection! Two Melbourne indie shows, one Sydney/Melbourne company co-production show and one international festival production. (I haven't seen Daddy yet, but will do what I can to see it during Midsumma.)

Thank you so much to everyone who's been a part of the series this year and since 2012: I've loved doing it and love that so much theatre and so many artists can be celebrated and supported in ways that don't care about star ratings.

So let's finish with someone who has been here every year and whose ongoing support of independent arts and arts writing in Melbourne is unsurpassed: Richard Watts. (And me.)

Richard Watts
Performing Arts Editor at Arts Hub, presenter Smart Arts at RRR, bloody legend

Richard Watts at the Cliffs of Moher

As a result of taking long service leave from my day job at ArtsHub in August–September, I didn’t see as many shows as usual this year – I even missed the entire Melbourne Fringe for the first time in over 20 years, due to spending most of September holidaying in Ireland. I did see some great shows at the Dublin Fringe and Dublin Theatre Festival, but that’s a whole other entry

My many Melbourne highlights (not including the many shows I also saw interstate) included:

Barbara and the Camp Dogs. Co-written by and starring Ursula Yovich, this raw, electrifying, vital piece of theatre at Malthouse was skillfully directed by Leticia Caceres. One moment you were roaring with laughter, the next sobbing as an emotional gut-punch caught you unaware. Part sweaty pub rock, part theatre, and always thrilling.

Cock. Directed by Beng Oh at fortyfivedownstairs, this indie production featured the year’s most sensual sex scene – in which the actors kept their clothes on the whole time.

Mr Burns: A post-Electric Play. A triumph of independent theatre directed by John Kachoyan for Lighting Jar Theatre. Great performances, exquisite lighting by Richard Vabre, and Sophie Woodward’s sets and costumes were an absolute triumph.

Harry Potter and Cursed Child Parts One and Two. I went in cynical, I came out awed. Stunning stagecraft and some truly remarkable coups de théâtre which had the audience gasping – myself included. Yes, tickets are prohibitively expensive, but it really is worth it – and there’s always the Friday Forty lottery!

33 Variations. My god, wasn’t Ellen Burstyn amazing?

A View from the Bridge. Tension so tight you could hear the whole audience holding its breath, superb direction by Iain Sinclair, and judiciously minimal staging thanks to Christina Smith’s set and Niklas Pajanti’s lighting. Yes, there was a clear debt to Ivo van Hove's Spartan 2014 production, but instead of a stark white stage, here we got dark, brooding, electrifying minimalism. If Zoe Terakes and Steve Bastoni don’t get Green Room nominations for their performances in this production I’ll eat my hat.

Giantess. Cassie Workman’s imaginative, incisive and moving show at this year’s MICF was a thing of rare beauty: wryly funny, skilfully constructed and performed, and occasionally heartbreaking. So good I saw it twice.

The Aspie Hour. This clever cabaret about neurodiversity and musical theatre was another MICF highlight. If you missed it, it’s been programmed in Sydney Festival in January, should you fancy a trip north.

Magma. Also at MICF, Andy Matthews and Alasdair Tremblay-Birchall’s offbeat, intelligent and hilarious investment seminar was without doubt the funniest show I saw all year. I literally roared with laughter.

Neal Portenza is Josh Ladgrove. Bilge pumps! Bilge pumps! Bilge pumps!

Wake In Fright. My god, wasn’t Zahra Newman amazing?

Modern Maori Quartet. Initially this cabaret at Arts Centre Melbourne struck me as a trifle too slick for its own good, but about 15 minutes in it all clicked into place for me, and I was enthralled and delighted and crying and applauding rapturously.

Between Tiny Cities. Contemporary dance that’s inventive, technically adept, passionate and accessible. I love the fact that it was programmed as part of Arts Centre Melbourne’s family program – watching an enthralled circle of kids watching such virtuosic b-boying was an utter delight.

Come From Away. If you don’t like musical theatre ,then go see this show. If you love musical theatre go see this show. I wouldn’t be at all surprised if Gander in Newfoundland receives an immediate increase in visiting Melburnians as a result of this life-affirming, heart-warming production.

Overture. Comedy in dance? Jo Lloyd makes it work beautifully. I’m so glad that Jonathan Holloway programmed a return season of this work for his final Melbourne International Arts Festival.

High Performance Packing Tape. Thrilling contemporary performance at the Meat Market as part of MICF in which Phil Downing’s sound design played a critical part. Never has watching a balloon inflate been so anxiety-inducing.

Colossus. Choreographed by Stephanie Lake and created for the 2018 Melbourne Fringe, Colossus was remounted for MIAF, and what a delight it was. Featuring some 50 dancers on the small Fairfax Studio stage at Arts Centre Melbourne, this exquisite work explores everything from subsumed individuality and the frightening power of the mob to the sound of the body in motion – hissing breath, snapped fingers, pounding feet. Athletic and multi-sensory, courageous and profound, it can soon be seen at Sydney Festival in January and Perth Festival in February – don’t miss it.


Looking forward to in 2020.
So much! Joel Bray’s Daddy, Selina Jenkins’s Boobs, Campion Decent’s The Campaign and You & I by Casus Circus at Midsumma; Kim Ho’s The Great Australian Play at Theatre Works; Grey Arias, the long overdue mainstage season of Patricia Cornelius’s Do Not Go Gentle... , and, especially, Loaded at  Malthouse; Benjamin Law’s Torch the Place, Dan Giovannoni’s Slap. Bang. Kiss., Fun Home and, especially, Andrea James’s bio-play about Evonne Goolagong, Sunshine Super Girl at the MTC; À Ố Làng Phối, Metal and Black Ties at Asia TOPA – and so much more. Most of all, I’m looking forward to seeing our beloved La Mama rising from the ashes as construction of the restored and future-proofed theatre gets underway.

SM: Richard is the hardest working arts journalist that I know. He sees as much as he possibly can, writes about the issues that no other publications write about, is the chair of the La Mama board, and has been on RRR on Thursday mornings for Smart Arts for FIFTEEN YEARS – as a volunteer.


How cool would it be if for his every show of 2020, a different delicious cake, a strong morning coffee and a cold post-show cider (he doesn't like beer) were waiting for him at the station. This isn't a joke.


Anne-Marie Peard
Arts writer


Anne-Marie Peard at Lakes Entrance

Favouirte moments of 2019
Lou Wall as Satan in Oh No! Satan Stole My Pineal Gland! at Melbourne Fringe.

Joshua Ladgrove as Satan in The many names of Bilge Pumps at MICF and Melbourne Fringe and, especially, dealing with the crappest microphone ever at the final fundraising performance in Decemeber.

Gender Euphoria with Mama Alto and the most incredible casts at Midsumma and MIAF. If the absolute joy generated by this show could be shared, the world would be a much better place,

Harry Potter and The Cursed Child: The relief and complete toe-tingling joy at the first cape swish and knowing that it was going to be as good as I imagined it could be. It was better. One day, I'll win the lottery and get to see it again.

The now-gone gun in Bron Battern's Waterloo and watching audience members make a choice that would swear they would never make.

Nikki Viveca's bee dance in Wasp Movie at Melbourne Fringe.

Break up by New Zealand's Binge Culture at Melbourne Fringe. This year, I watched more of this five-hour impro show than I did last year, and want to sit through all of it one year.

Running workshops with indie artists and seeing them get media coverage as a result. 

Seeing students get published.

What I'm looking forward to in 2020
Asia TOPAPo Po Mo Co's Summer of the 17th Doll, and seeing all those first shows that introduce new artists to the Melbourne arts community.

But what I'm most looking forward to is that significant companies, funded organisations and commercial producers SUPPORT INDEPENDENT MEDIA.

There are many amazing independent critical voices out there and so many more emerging voices wanting to be heard and wanting to be advocates and supporters of the arts in Melbourne.

But these voices are rarely supported by the companies and organisations that have the resources to offer support. 

The best funded and supported companies in our town don't support independent voices, including  online sites, podcasts, radio shows, student publications and social media wonders. 

Writers aren't invited to shows, and if they do see work, their considered commentary isn't shared. 

I know where I'm welcome when I write for mastheads and not welcome otherwise.

There is lots of love about these companies in indie writing; none of which is shared by the companies with their audience. All the positive and supportive things said about any company with funding in this series hasn't been shared, liked or, possibly, even read by companies. 

None. 

I reckon that subscribers, sponsors and the artists would love to know that their work was among some people's favourite moments of the year.

These companies are also missing the opportunity to have commentary from people who see so many shows that they can write about the big picture over many years. There isn't room for this type of reflection in 300-worder in a masthead. They miss the voices of people who were  there when some of the biggest names on our stages were performing in tiny venues. These writers were the early support and encouragement and can write about work with an understanding and a history that can't be summed up in a star rating.

They miss out on being part of the history and the archive that indie coverage offers.

They miss out on writing that is more than a quoted word or phrase. 

By focusing on the potential short-term benefit of a review, they miss out on the long-term gains.

And what about all the new writers? Writers need to see work and need to write and be read. If they aren't welcome at shows, what does this say about your company?

If all you want is stars and adjectives, here:

****

Quote away.

I know how important indie voices are to artists; they talk to me and sometimes those messages and conversations are enough to keep writing.

So, here's to a year where every funded company invites EVERY indie voice, says yes to every student and emerging artist who would like to see shows, reads what they say and shares those voices.

SM: A-M spends a lot of her year convincing me to keep doing this. She reads the emails and messages. She buys me dumplings and convinces me to see another show each night during a festival.

But it's time to say goodbye.  

I look forward to passing on the torch, teaching and mentoring new voices and putting my hand up as a date to shows.