MAJOR AUSTRALIAN FESTIVALS - 2020 COMMISSIONING SITE - Brisbane Festival
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MAJOR
AUSTRALIAN
FESTIVALS
CO MMI S S I ONING SITE
2020
Brisbane Festival is an initiative of the
Queensland Government and Brisbane City Council
1/2/
WELCOME
On behalf of the Confederation of Australian The Confederation has had the privilege of CAIAF acknowledges the traditional
International Arts Festivals, welcome to the Major administering the MFI fund since 1995 resulting owners of the land on which we gather, the
Australian Festivals Commissioning Site. in the development of hundreds of new Turrbul and Yuggera people. We recognise
Australian works. and respect their cultural and creative
As we are all acutely aware, 2020 has been
heritage and acknowledge their ongoing
deeply challenging for the global cultural sector. Over the next two days we are delighted to be
contribution to our shared future.
When the pandemic hit earlier this year, the able to share with you projects in varying states
Confederation met to consider how best to of development. The work of the selected artists The 2020 Major Australian Festivals
respond within available resources and the scope is seen to be ready for further development and Commissioning Site is produced by
of the Australian Government’s Major Festivals presentation, and we commend them to you for Brisbane Festival for the Confederation
Initiative (MFI) fund. Simultaneously, many of your consideration. of Australian International Arts Festivals,
our Festival members were recalibrating their funded by the Australian government’s
I thank the Brisbane Festival for hosting this
traditional festival formats and offerings against Major Festivals Initiative (MFI) through
event in the midst of delivering a newly designed
a backdrop of a constantly changing horizon of Australia Council for the Arts.
Festival. To those joining around Australia and
health and border restrictions, artist and audience
abroad, I am delighted that you have joined us
expectations; each of us are now looking towards
in commissioning the next crop of exciting new MFI COMMISSIONING
a very different 2021.
Australian work. SITE 2020
The $1.5 million annual MFI fund supports
the commissioning of new Australian works RICHARD EVANS PRODUCTION TEAM
by the seven major multi-artform capital city CHAIR Melinda (Min) Collie-Holmes
international arts festivals. The Confederation Producer/MC
member Festivals, co-commissioners and Jess Audsley
production partners collectively contribute Associate Producer
50% of their own funds towards seeding,
developing and producing new work, resulting Craig Wilkinson/optikal bloc
in approximately $3 million worth of work being Vision Mixer
supported each year. Once commissioned, Chelsea Chua
member Festivals and other presenters go on to Programming Intern
fund the presentation of these works, all of which
are presented nationally and some of which go on
to tour internationally over many years.
3/DELEGATES
CAIAF RISING ASSOCIATE MEMBERS
Richard Evans Gideon Obarzanek AUCKLAND ARTS FESTIVAL
Chair Co-Artistic Director Shona McCullagh
Julia Herne Hannah Fox Artistic Director
Secretariat Co-Artistic Director David Inns
Kath Mainland Chief Executive
ADELAIDE FESTIVAL
Neil Armfield AO Executive Director NEW ZEALAND FESTIVAL/ TAWHIRI
Co-Artistic Director FESTIVAL AND EXPERIENCES
Mark Burlace
Deputy Executive Director Meg Williams
Rachel Healy
Executive Director
Co-Artistic Director Rose Harriman
Curatorial Manager Marnie Karmelita
Elaine Chia
Creative Director
Executive Director Lucy Forge
Executive Producer Angela Green
Lesley Newton
Head of Programming
Head of Programming Ally Harvey
Tess Appleby Deputy Executive Producer FUNDING PARTNER
Program Manager AUSTRALIA COUNCIL FOR THE ARTS
PERTH FESTIVAL
Kate Hillgrove Iain Grandage Alice Nash
Program Manager Artistic Director Executive Director Arts Investment
Nathan Bennett Andrew Donovan
BRISBANE FESTIVAL
Executive Director Director Multi-Year Investment, Arts Investment
Charlie Cush
Chief Executive Officer Anna Reece Jade Lillie
Executive Producer Head of Sector Development
Louise Bezzina
Artistic Director Norman Armour
SYDNEY FESTIVAL
North American Representative
Kate Fell Wesley Enoch
Program Director Festival Director
DARWIN FESTIVAL Olivia Ansell
Felix Preval Incoming Festival Director
Artistic Director Christopher Tooher (CAIAF Treasurer)
James Gough Executive Director
Acting CEO Vivia Hickman
Vanessa Wright Executive Producer
Program Producer
TEN DAYS ON THE ISLAND
Lindy Hume
Artistic Director
Jane Haley
Chief Executive Officer
Vernon Guest
Executive Producer
4/NATIONAL DELEGATES
ADELAIDE FESTIVAL CENTRE BRISBANE POWERHOUSE NORPA
Liz Hawkins Kris Stewart Julian Louis
Director or Programming, Development and Artistic Director Artistic Director
Venue Sales
Katherine Hoepper PACA
APAM Programming Director Katherine Connor
Catherine Jones Executive Director
BRITISH COUNCIL
Director QUEENSLAND PERFORMING ARTS
Helen Salmon
Naomi Velaphi Director CENTRE
Program Producer John Glenn
CANBERRA THEATRE CENTRE Director, Programming
ARTS CENTRE MELBOURNE Alex Budd
Edwina Lunn Director Rebecca Lamoin
Director of Programming Director, Public Engagement and Learning
Gill Hugonnet
David Anderson Deputy Director – Programming RIVERSIDE THEATRE
Head of Contemporary Performance Robert Love AM
COUNTRY ARTS SA Director
Daniel Clarke Anthony Peluso
Creative Producer, Theatre and Contemporary Chief Executive Catherine Swallow
Performance Program Manager
Mary Harvey DEPARTMENT OF
INFRASTRUCTURE, TRANSPORT, SYDNEY OPERA HOUSE
Creative Producer, Families and Children REGIONAL DEVELOPMENT AND Fiona Winning
Angharad Wynne-Jones
COMMUNICATIONS Director, Programming
Alison Todd
Head of Creative Engagement
Director, Arts Policy and Development SYDNEY THEATRE COMPANY
ARTS HOUSE Kip Williams
Emily Sexton
HOTA, HOME OF THE ARTS Artistic Director
Virginia Hyam
Artistic Director
Head of Programming Ben White
Sophie Travers Senior Producer
General Manager ILLUMINATE ADELAIDE
Skye Kunstelj
Rachael Azzopardi
Olivia Anderson Associate Producer
Co-Founder and Creative Director
Producer
THE ARTHOUSE WYONG
MELBOURNE FRINGE
ARTS PROJECTS AUSTRALIA Anne-Marie Heath
Simon Abrahams
Ian Scobie Executive Director
Creative Director and CEO
Director
Lee Cumberlidge MERRIGONG THEATRE COMPANY/
ILLAWARRA PERFORMING ARTS
Director
CENTRE
Simon Hinton
AUSPICIOUS ARTS PROJECTS
Artistic Director/CEO
John Paxinos
Executive Director Leland Kean
Acting Artistic Director
BLAKDANCE
Merindah Donnelly NATIONAL THEATRE OF PARRAMATTA
Executive Producer Joanne Kee
Executive Producer
BLEACH FESTIVAL/ PLACEMAKERS
GOLD COAST
Rosie Dennis
Artistic Director/ CEO
5/INTERNATIONAL DELEGATES
AUCKLAND LIVE MANCHESTER INTERNATIONAL
Bernie Haldane FESTIVAL
Director and General Manager of Programming Paul Clay
and Presenter Services International Director
AURORA NOVA NEW THEATRE INSTITUTE OF LATVIA
Wolfgang Hoffman Bek Berger
Director Artistic Director
BAM NOORDERZON FESTIVAL OF
David Binder PERFORMING ARTS & SOCIETY
Mark Yeoman
Artistic Director
Artistic Director
BARBICAN CENTRE
Toni Racklin SINGAPORE INTERNATIONAL FESTIVAL
OF THE ARTS
Head of Theatre and Dance
Natalie Hennedige
Festival Director
BRIGHTON FESTIVAL
Sally Cowling
STANFORD LIVE
Artistic Associate and International Programmer
Chris Lorway
Executive Director
DAVID LIEBERMAN/ARTISTS
REPRESENTATIVES
David Lieberman THEATER DER WELT
Stefan Schmidtke
President
Artistic Director
Allen Moon
Director of Touring and Artist Management WALES MILLENNIUM CENTRE
Pádraig Cusack
FIERY ANGEL ENTERTAINMENT Executive Producer
Michael Stevens
Head of Concerts and Special Events WEST KOWLOON CULTURAL DISTRICT
AUTHORITY
HARBOURFRONT CENTRE Kee Hong Low
Iris Nemani Head of Theatre
Chief Programming Officer
Nathalie Bonjour
Director, Performing Arts
Laura McLeod
Director, Cultural Engagement
KYOTO EXPERIMENT
Juliet Knapp
Director
LIFT FESTIVAL
Kris Nelson
Artistic Director and CEO
6/PITCHING ARTISTS
AUSTRALIAN DANCE THEATRE GRAVITY AND OTHER MYTHS TANDEM
Garry Stewart Jascha Boyce Fenn Gordon
Artistic Director Company Director/Marketing/Acrobat Executive Producer
Nick Hays Darcy Grant TERRAPIN PUPPET THEATRE
Executive Director Creative Lead Sam Routledge
Christie Anderson Artistic Director
BARKING GECKO THEATRE COMPANY
Luke Kerridge Artistic Director, Young Adelaide Voices
THE FARM
Artistic Director Torben Brookman Gavin Webber
Helen Hristofski Co-Owner GWB Entertainment Co-Artistic Director
CEO & Executive Producer Chloe Ogilvie
GUTS DANCE
Frankie Snowdon Core Artist
BRINK PRODUCTIONS
Chris Drummond Co-Artistic Director
THE LAST GREAT HUNT
Artistic Director Madeleine Krenek Sian Roberts
Karen Wilson Co-Artistic Director Executive Producer
General Manager
ILBIJERRI THEATRE COMPANY THE NEW ZEALAND DANCE COMPANY
CASUS CIRCUS Rachael Maza James O’Hara
Natano Fa’anana Artistic Director Co-Artistic Director
Co-Founder & Creative Director Nina Bonacci Tor Columbus
Senior Producer Co-Artistic Director
CIRCA
Yaron Lifschitz Daniel Riley Caroline Bindon
Artistic Director Associate Producer Artistic Manager
Shaun Comerford INSITE ARTS INTERNATIONAL Janine Dijkmeijer
Executive Director Penelope Leishman Creative Executive Director
Danielle Kellie Kate Hancock JP Bolton
Senior Producer Creative Producer
LEGS ON THE WALL
Lauren Eisinger Joshua Thomson Ross McCormack
International Development Manager Artistic Director Choreographer and Set Designer
Ho-Yin Ng Cecily Hardy VITALSTATISTIX
Board Director, Amanda Levete Architects Senior Creative Producer Emma Webb
Director
DANCENORTH METRO ARTS
Kyle Page Jo Thomas INDEPENDENT ARTISTS
Artistic Director CEO and Creative Director Emma Beech
Amber Haines Anna Breckon
Matt Seery
Associate Artistic Director Sophia Brous
Producer
Rachel Arianne Ogle
DEAD PUPPET SOCIETY RESTLESS DANCE THEATRE Nat Randall
Nicholas Paine Michelle Ryan Justin Shoulder
Executive Producer Artistic Director Nathan Sibthorpe
Lara Thoms
David Morton Roz Hervey Freya Waterman
Creative Director Creative Producer Lisa Wilson
Tom Wright
STEPHANIE LAKE COMPANY
Stephanie Lake
Artistic Director
7/SCHEDULE
DAY O NE TUE SDAY 22ND
TIME (AEST) TIME (SA & NT) TIME (WA) TIME (GMT) SESSION
12midday 11:30am 10:00am 2:00am Welcome to Country
12:05pm 11:35am 10:05am 2:05am Welcome to MFI Commissioning Site
12:10pm 11:40am 10:10am 2:10am Welcome from Brisbane Festival
SESSION ONE
12:20pm 11:50am 10:20am 2:20am Pitch One
12:35pm 12:05pm 10:35am 2:35am Pitch Two
12:50pm 12:20pm 10:50am 2:50am Pitch Three
1:05pm 12:35pm 11:05am 3:05am Pitch Four
1:20pm 12:50pm 11:20am 3:20am BREAK
SESSION TWO
1:45pm 1:15pm 11:45am 3:45am Pitch Five
2:00pm 1:30pm 12:00pm 4:00am Pitch Six
2:15pm 1:45pm 12:15pm 4:15am Pitch Seven
2:30pm 2:00pm 12:30pm 4:30am BREAK
SESSION THREE
3:00pm 2:30pm 1:00pm 5:00am Pitch Eight
3:15pm 2:45pm 1:15pm 5:15am Pitch Nine
3:30pm 3:00pm 1:30pm 5:30am Pitch Ten
3:45pm 3:15pm 1:45pm 5:45am BREAK
SESSION FOUR
4:00pm 3:30pm 2:00pm 6:00am Pitch Eleven
4:15pm 3:45pm 2:15pm 6:15am Pitch Twelve
4:30pm 4:00pm 2:30pm 6:30am Pitch Thirteen
4:45pm 4:15pm 2:45pm 6:45am CONCLUSION OF DAY ONE
8/PROJECT PERSONNEL FESTIVAL APPLICATION STAGE DURATION
Shannon Ruska Tribal Experiences 5 mins
Richard Evans CAIAF 5 mins
Louise Bezzina & Charlie Cush Brisbane Festival 10 mins
Introduction by Brisbane Festival
Stunt Double The Farm Brisbane Festival Creative Development 15 mins
Introduction by Brisbane Festival
PATROCLUS Dead Puppet Society/Legs on the Wall Brisbane Festival Pre-production 15 mins
Introduction by Perth Festival
Tales from the Inner City Barking Gecko Theatre Perth Festival Creative Development 15 mins
Introduction by Adelaide Festival
Guttered Restless Dance Theatre Adelaide Festival Pre-production 15 mins
Introduction by Rising
The Invisible Opera Sophia Brous RISING Creative Development 15 mins
Introduction by RISING
AEON Dagger Justin Shoulder RISING Creative Development 15 mins
Introduction by Adelaide Festival
Emma Beech/Brink Productions/
The Photo Box Adelaide Festival Creative Development 15 mins
Vitalstatistix
Introduction by Adelaide Festival
Supernature Australian Dance Theatre Adelaide Festival Tour Ready 15 mins
Introduction by Sydney Festival
Daniel Riley/ILBIJERRI Theatre
Tracker Sydney Festival Creative Development 15 mins
Company
Introduction by Adelaide Festival
THE PULSE Gravity and Other Myths Adelaide Festival Pre-production 15 mins
Introduction by RISING
Manifesto Stephanie Lake Company RISING Pre-production 15 mins
Introduction by Brisbane Festival
Bounce! Circa Brisbane Festival Pre-production 15 mins
Introduction by Perth Festival
Whistle Blower The Last Great Hunt Perth Festival Pre-production 15 mins
Richard Evans
9/SCHEDULE
DAY T WO WEDNE SDAY 23R D
TIME (AEST) TIME (SA & NT) TIME (WA) TIME (GMT) SESSION
1:00pm 12:30pm 11:00am 3:00am Welcome to Day Two/ Housekeeping
1:15pm 12:45pm 11:15am 3:15am Brisbane Festival Update/ Welcome
1:20pm 12:50pm 11:20am 3:20am Showcase of SILENCE: BlakDance
SESSION FIVE
1:45pm 1:15pm 11:45am 3:45am Pitch Fourteen
2:00pm 1:30pm 12:00pm 4:00am Pitch Fifteen
2:15pm 1:45pm 12:15pm 4:15am Pitch Sixteen
2:30pm 2:00pm 12:30pm 4:30am Pitch Seventeen
2:45pm 2:15pm 12:45pm 4:45am BREAK
SESSION SIX
3:00pm 2:30pm 1:00pm 5:00am Pitch Eighteen
3:15pm 2:45pm 1:15pm 5:15am Pitch Nineteen
3:30pm 3:00pm 1:30pm 5:30am Pitch Twenty
3:45pm 2:15pm 1:45pm 5:45am Pitch Twenty-one
4:00pm 3:30pm 2:00pm 6:00am BREAK
SESSION SEVEN
4:15pm 3:45pm 2:15pm 6:15am Pitch Twenty-two
4:30pm 4:00pm 2:30pm 6:30am Pitch Twenty-three
4:45pm 4:15pm 2:45pm 6:45am Pitch Twenty-four
5:00pm 4:30pm 3:00pm 7:00am WRAP UP
10/PROJECT PERSONNEL FESTIVAL APPLICATION STAGE DURATION
Richard Evans/Min Collie-Holmes 15 mins
Louise Bezzina Brisbane Festival 5 mins
Brisbane Festival Program 2020 BlakDance 15 mins
Introduction by Brisbane Festival
Lisa Wilson/Nathan Sibthorpe/
Bunker Brisbane Festival Pre-production 15 mins
Metro Arts
Introduction by RISING
Big Name, No Blankets Ilbijerri Theatre Company RISING Creative Development 15 mins
Introduction by Darwin Festival
Value For Money GUTS Dance Darwin Festival Creative Development 15 mins
Introduction by Ten Days on the Island
Monster Trucks Terrapin Puppet Theatre Ten Days on the Island Seed Funding 15 mins
Introduction by Adelaide Festival
Riders in the Chariot Brink Productions Adelaide Festival Creative Development 15 mins
Introduction by Brisbane Festival
Amataga Casus Circus Brisbane Festival Creative Development 15 mins
Introduction by Adelaide Festival
Set Piece Nat Randall/Anna Breckon Adelaide Festival Pre-production 15 mins
Introduction by Auckland Arts Festival
Ross McCormack/The New Zealand
As it Stands Auckland Arts Festival Tour Ready 15 mins
Dance Company
Introduction by Brisbane Festival
RED Dancenorth Brisbane Festival Pre-production 15 mins
Introduction by Ten Days on the Island
How we Found what We Had Lost Terrapin Puppet Theatre Ten Days on the Island Pre-production 15 mins
Introduction by Perth Festival
And the Earth Will Swallow Them Whole Rachel Arianne Ogle Perth Festival Creative Development 15 mins
Richard Evans
11/STUNT DOUBLE
THE FA RM
PROJECT PROJECT
PARTNERS DESCRIPTION
One person’s talent, used for another For the challenges of using live film techniques
ADMINISTERING on stage, and the cinematography demanded
CAIAF FESTIVAL person’s glory.
of these action sequences, we have completed
Brisbane Festival Stunt Double is a social satire of power and fame an intense seed development week with local
that examines the price paid for the creation of documentary film director Mick Angus and
PARTNER our idols. feature film cinematographer Mark Wareham.
CAIAF FESTIVAL/S We will continue to work with and consult them
It’s set in the 70’s cinematic world of
TBC during the creative development.
Ozploitation, the period that brought such
memorable movies as Wake in Fright, Razorback The Farm has always been interested in stunts,
OTHER and BMX Bandits. 70’s Australia was a time of the consequences of high impact physicality, the
CO-COMMISSIONING change, when the climate debate was starting,
PARTNERS fragility of the human body and the connection
the challenge to gender roles was well underway, that audiences feel when they experience
HOTA Gough Whitlam was being sacked by the Queen actual risk onstage. For our drive-in thriller
(and the CIA), Elvis was still alive and spandex Throttle (2019) we worked with the AP8 stunt
OTHER FINANCIAL was a new thing. academy and world motocross champion Dan
SUPPORTERS
Designed to be an accessible work that draws a Readon. For Stunt Double we completed our
The Farm seed development week with Stunt coordinator
crowd beyond the art elite, the popular cultural
references and biting comedy of Stunt Double Darko Tuskan and are in conversation with many
experienced practitioners including Carly Rees,
TIMELINE will provide a unique perspective on the way
and Yasca and Marco Sinigaglia.
power and privilege operacte.
NOV – DEC 2020 “They suddenly realized you need a permit to
Live filming of an action sequence takes place on
Preliminary design conversations set a car or a trashcan on fire, but you can set a
stage, and above it is a large screen where the
Initial script ideas human on fire with no permit. In a funny sort of
sequences are projected.
Source material to inform studio rehearsals way, that’s a perfect analogy for the business.”
Filming of test stunt sequences Through the differing lenses of fiction, Andy Armstrong – Stunt coordinator
documentary and live theatre, The Farm will
MARCH 2021 explore what is real, what is truth and what the Our company is based on the Gold Coast, in
Two-week creative development at HOTA implications are when the truth is edited. the heartland of the Australian stunt world, and
despite working in a vastly different industry, the
Because we know whoever controls the lens communication that we have had so far has been
controls the narrative. inspiring, and has made us appreciate how much
“After many years as a stunt double for A-list knowledge, talent and potential collaboration is
actors, I have first hand experience on the right at our doorstep.
treatment of female stunt doubles in a male
dominated industry. With a movement currently
underway in the screen industry to recognise the
unknown women and men that put their bodies
on the line to make the Hollywood stars look so
kick ass, it is time to shine a light on the Stunt
Double in all our glorious forms.” – Carly Rees
12/CREATIVE TEAM/ PRODUCING MFI CRITERIA
PERFORMERS COMPANY PROFILE Whilst Stunt Double is a social satire bathed
The artistic directorship team of The Farm Based on the Gold Coast with roots in Berlin The in 1970’s Australia, it’s underlying examination
consists of five core artists, Kate Harman, Farm have been described as the gateway drug of hierarchies and power structures are both
Michael Smith, Chloe Ogilvie, Gavin Webber to contemporary dance. That’s because we want current and universal.
and Grayson Millwood who work collaboratively to connect to anyone, from dance aficionados to
The innovative approach needed to mix live
to create original dance theatre works. It is theatre virgins, and to challenge the status quo
filming, stunt performance and dance theatre will
important to us that these five voices are about what dance is and who it’s for.
challenge The Farm to think beyond their own
equally present in the direction of Stunt Double
Our company is led by a collective of five artform, and open their processes to artists that
because we know that, when speaking to themes
artists spanning multiple generations, genders, work in an very different industry.
of recognition and hierarchy, collaborators of
backgrounds, zodiacs and disciplines. We believe
different generations, backgrounds and genders With Stunt Double we are aiming to create a
that all animals are equal and everyone we
will better inform our process. work of a greater scale than usual, to reach a
collaborate with brings their expertise to the
mainstream audience not normally associated
One person’s talent being used for another work, but are not confined to them.
with contemporary dance. The success of shows
person’s glory, may feel familiar to many people,
Different combinations of our core artists and such as Cockfight (which received invitations
but it is clear that this feeling is compounded
collaborators have worked on a long list of to comedy festivals and won a Drover’s Award
in some bodies more than others.
successful shows that predates The Farm such as for best touring production) led the company to
Lawn, Roadkill (Splinter Group) and Underground be labelled “The gateway drug to dance”, this is
ADDITIONAL COLLABORATORS FOR
THE CREATIVE DEVELOPMENT (Dancenorth). More recent achievements include something that we take pride in. We now wish
Performers the Helpmann award winning TIDE, Cockfight to push this ability to make accessible physical
Essie Horn and Taree Sanbury (Drovers Award, Helpmann nominated), Throttle theatre towards a larger scale work.
(Matilda Award), Frankenstein (PAWA Award),
Dramaturgy
Louise Gough
The Last Blast (Helpmann nominated). PREVIOUS MFI GRANTS
Cinematographer 2020
Seed Development for Stunt Double
Mark Wareham FUTURE MFI amount granted $10,000
Documentary filmmaker POTENTIAL
Mick Angus
With professional stunt coordination and feature BUDGET
Stunt Performer and consultant film quality cinematography, we believe Stunt
Budget has been provided.
Carly Rees Double is set to attract an audience well beyond
the traditional dance crowd.
Stunt coordinator
Vasca and Marco Sinigaglia We are looking towards a Brisbane Festival
premier in 2022 before presenting the work at
WHAT THE MFI FUNDING
Composition and Sound design
HOTA, our home venue. Working together with WILL BE USED FOR
Luke Smiles
Performing Lines, we will build a touring strategy The MFI Creative Development funding will
Design for 2023 that utilises existing presenter interest allow us to find the ‘heart’ of the show. We will
Zoe Atkinson and Tyler Hill in our past work as well as investigating new work with our traditional collaborative processes
markets in line with the nature and scale of this and artists of The Farm, include all the elements
new production. that worked well during our seed development
and introduce an outside dramaturg, Louise
Gough to the process. Her role will be twofold,
she will focus on the script development around
certain scenes, and provide an invaluable outside
lens to the wider dramaturgical arc.
This creative development will build on a seed
funding week completed in August 2020 in
which we worked with some of Australia’s
most experienced and sought after film and
stunt practitioners.
13/PATROCLUS
BY DAV ID MORTON
D E AD PUPPET SOCIE T Y ( DP S)
AN D LEGS ON TH E WALL (LOT W )
PROJECT PROJECT CREATIVE TEAM/
PARTNERS DESCRIPTION PERFORMERS
ADMINISTERING An unlikely (and under told) classical love story, Writer and Director
CAIAF FESTIVAL set against the epic violence of the Trojan David Morton
Brisbane Festival War, PATROCLUS is a refreshing reimagining
Director of Movement
of one of the ancient world’s best- known
Joshua Thomson (Legs On The Wall)
heroes, and his not so well-known lover, to
PARTNER reclaim the queer aspects of the mythology. Composer
CAIAF FESTIVAL/S
For Co-Producers DPS and LOTW this project Montaigne, Chris Bear (Grizzly Bear)
Sydney Festival (TBC)
is important and relevant for several reasons. and Tony Buchen
In an increasingly divided world, the work will
OTHER Creative Producers
appeal for compassionate leadership and the
CO-COMMISSIONING Nicholas Paine and Cecily Hardy
service of others. As a concept, and from our
PARTNERS
research, this sort of contemporary retelling of Puppetry
QPAC (TBC), Glass Half Full classical material is in demand and has a wide Dead Puppet Society
Productions appeal due to both audience familiarity and
Design
a resurgence of interest in classical literature.
TBC
OTHER FINANCIAL Most importantly though, for us PATROCLUS is
SUPPORTERS about diverse representation. We believe that Costume Designer
Queensland University painting the portrait of the queer heroes at the TBC
of Technology, heart of one of mythology’s most well-known
Dramaturg
Australia Council for the Arts tales has the potential to voice the narrative of
Louise Gough
individuals who make enormous contributions to
their societies but still must fight for acceptance Projection Designer
TIMELINE and visibility. To amplify this intention, diversity Justin Harrison
of artistic leadership on this work is paramount.
2021 Additionally, the intention for the final work is Sound Designer
Development to build an ensemble of diverse performers who Tony Brumpton
will double through multiple roles, often blurring Lighting Designer
JUN – AUG 2022 previously defined gender roles traditionally TBC
Pre-Production associated with these mythological characters.
By integrating human performers and puppets Cast
SEP 2022 within digital environments, and shifting planes TBC
Opening Season
as the work incorporates stage combat and aerial
physicality, we will create a versatile theatrical
JAN 2023
Second Season
palette. One capable of staging a story of mythic FUTURE
proportions and continuing the multi-disciplinary POTENTIAL
TBC experimentation with form that is a hallmark
of Dead Puppet Society and Legs On The NA
Third Season
Wall’s work.
14/PRODUCING MFI CRITERIA
COMPANY PROFILE PATROCLUS brings together two leading
Australian performing arts companies to reshape
DEAD PUPPET SOCIETY 2017 and will tour nationally in 2019/20 to Cairns,
and reclaim the queer story of two central
Focussed on the creation of large-scale visual Arts Centre Melbourne, Queensland Performing
characters of Homer’s Iliad. This collaboration
theatre works, Dead Puppet Society has been Arts Centre and Sydney Opera House for
will feature the heightened physicality of Legs
operating for ten years and has received Sydney Festival, and internationally in 2020 to
on the Wall combined with the visual mastery
numerous awards and accolades, including six South Bank Centre in London and Edinburgh
and contemporary use of puppetry from Dead
Helpmann Award nominations and an Olivier Children’s Festival.
Puppet Society to create a work of scale which
Award nomination. After undertaking several
deadpuppetsociety.com.au will take audiences to breathtaking new worlds.
development programs and short seasons
Pairing Justin Harrison’s visually exquisite
with Metro Arts, Adelaide Fringe and Brisbane
LEGS ON THE WALL projection design with Montaigne, Chris Bear
Festival, our unique take on puppetry was
Legs On The Wall (Legs) has a 35-year story and Tony Buchen’s internationally renowned
solidified at La Boite Theatre Company in 2011
defined by daring, awe, heart and calculated and award-winning composition will further
with THE HARBINGER, which moved from the
risk. Their successes see have made them ensure the audience is immersed in this epic and
Indie program to Mainstage in 2012 and toured
Australia’s leading physical theatre company reimagined story.
nationally in 2014 in co-production with Critical
with global renown. Legs artists craft stories
Stages. The slow development and multiple Dead Puppet Society is committed to providing
through inimitable teaming of dance, theatre,
iterations of this project gave us a strong opportunities to and collaborating with
circus, sport, street arts, music, film, spectacle,
understanding of producing large-scale work. Australian artists working in visual theatre
experimental, installation, and other art forms.
In 2013 we premiered ARGUS at the Brisbane forms. After 34 years Legs on the Wall remains
Working with Australia’s best physical and non-
Powerhouse. This production highlighted our a thriving heart of physical theatre in Australia.
physical artists, and international collaborators,
innovative approach to the form and received Legs is known nationally and internationally
with a mandate to support and promote first
a grant from the Jim Henson Foundation for for their exuberance, innovation and extreme
nations artists the world over. With more than
contemporary use of puppetry. A national tour physical skill – telling stories with depth
700,000 people having experienced Legs’
took place in 2015, visiting five states, with and intelligence.
work first hand, their work appeals to a broad
presenters including Queensland Theatre,
audience across barriers of language, socio- PATROCLUS will make use of a wide variety of
Come Out Children’s Festival, Darwin Festival,
economic status, and more. forms. It will blend stage combat with aerial-work
and others throughout regional Victoria and
and integrate human performers and puppets
Queensland. In 2016 and 2017 ARGUS was Since the appointment of Joshua Thomson as
within digital environments — creating a versatile
presented at the Kravis Center in Florida and Artistic Director in 2018, Legs has flourished
and ambitious work of scale.
at the Lincoln Center in New York City. with a renewed focus on telling relevant and
powerful stories with physical metaphor.
For the past five years, the Society has been
developing strong international partnerships,
Interactive intergenerational trampoline work PREVIOUS MFI GRANTS
HIGHLY SPRUNG was experienced by over
particularly across the United States and the Creative Development – PATROCLUS
9000 people in suburban Australia (Sydney
United Kingdom. The need to build these arose
Festival, Bleach festival, Art and About), and
in 2013 when we worked with Handspring
remote Australia (Karratha’s Red Earth Arts BUDGET
Puppet Company as a JUMP Mentorship. Their
Festival), as well as internationally (Santiago a
advice was that a sustainable practice relied on Budget has been provided.
Mil). 2018/2019 saw Indigenous led aerial work
building an international career. In beginning this
Man With The Iron Neck (MWTIN) premiere for
process, we secured an eight-month residency
Brisbane, Sydney, Adelaide and Darwin major
at St. Ann’s Warehouse in NYC to develop THE
arts Festivals in Australia, receiving exceptional
WIDER EARTH. In 2016 we co-produced the fully
reviews and standing ovations. Above all, Legs
realised production with Queensland Theatre.
are determined to tell transformative and
The work then enjoyed a sold out season at
empowering stories in forms that will thrill and
Sydney Opera House for Sydney Festival and
resonate with audiences.
a five month commercial season at the Natural
History Museum in London. DPS also has a legsonthewall.com.au
strong relationship with the New Victory Theater
in NYC who hosted us in residence for two years
and were our primary development partner for
LASER BEAK MAN. The production had its world
premiere with Brisbane Festival and La Boite in
15/TALES FROM THE INNER CITY
BA R KING GECKO TH E ATRE COMPANY
PROJECT PROJECT
PARTNERS DESCRIPTION
Tales from the Inner City, the most recent work SATELLITE’ PERFORMANCES
ADMINISTERING
CAIAF FESTIVAL from master storyteller Shaun Tan, was born Audiences venture into the city to discover
from a question: What would happen if animals three-five different immersive, site specific
Perth Festival
lived in places that were normally reserved only performances. These would be longer
for human beings? The result is an extraordinary (approx.10-15 min) crafted theatrical experiences
PARTNER collection of poetry, prose and artworks that are adaptations of the more narrative-based
CAIAF FESTIVAL/S stories from the book. For example, in a museum
fashioned into 25 short stories that are exquisite,
TBC an evolutionary biologist awaits to share her
surreal, haunting, and befitting of the strange
times we now find ourselves in. Crocodiles live strange and magical presentation about a species
OTHER on the 87th floor of a high rise. Bears are taking of Lungfish that evolved faster than the human
CO-COMMISSIONING the human race to court. A baby orca is put into race. In a courthouse, a group of bears are taking
PARTNERS the human race to court. Outside a bank, a man
the sky but no one knows how to get it down
City of Perth, Department again. It cries endlessly for its mother. feeding pigeons tells the story of a fantastical
of Local Government Sport skyscraper hovering in the sky that challenges
& Creative Industries (TBC) Utilising the city as a canvas and a stage, Barking ideas of wealth.
Gecko Theatre’s adaptation of Tales from the
Inner City will translate the elegance and dream- JOURNEY
OTHER FINANCIAL like quality of Tan’s stories into a live experience
SUPPORTERS Connecting the ‘Headquarters’ and ‘Satellites’
for children and families that will explode to life will be a series of ephemeral visual art works that
N/A across the city. It is imagined in three ‘modules’: act as ‘breadcrumbs’ for the audience to follow.
For example, a series of beautifully illustrated
HEADQUARTERS
TIMELINE A series of rooms constructed in an existing
posters about a missing cat plaster the streets
and projections of horses dance across city
space, or perhaps purpose built. Each room is buildings, haunting the city they once helped
APR 2021
an instillation inspired by a different story from build. These works will transform the city and
Part 1: Concept development/
the book. The audience travel from room to be enjoyed by the general public, whilst holding
Confirmation of story selections and form
room, each one giving way to a new reality by secret meaning for audiences on the larger
(1 week)
shifting artistic form, perspective and scale. For journey of the work.
JUN 2021 example, in one room audiences listen to a story
about giant snails as they watch real-life snails Cumulatively, Tales from the Inner City will be an
Part 2: Build and Test HQ rooms inc.
crawl through a miniature city. In another room experiential collage, with the engagements linked
Composer, LX and Digital (2 weeks)
made entirely of fur, audiences are invited to on emotional and intuitive levels. For clarity, the
DEC 2021 nestle in as they hear the strange tale of some work avoids anthropomorphised creatures.
Part 3: Script Development tired factory workers awaiting the arrival of a A captivating and magical experience for
(Satellite Site specific locations) (2 weeks) great yak. In another, a wall of intricate masks children and families, at its core, Tales from the
reveal the subtle teachings of a predatory tiger. Inner City poses urgent questions about our
MAR 2022 An ethereal soundscape is tailored to each room, relationship with the natural world. This is a work
Part 4: Creative Development Perth: with stories communicated in different ways - that challenges established power structures and
Creative Team and Performers (2 weeks) via audio, performers, text, and rich, resonant our assumed dominion over our environment.
imagery. Once audiences have travelled through It is an act of imagining, that posits our shared
the rooms at ‘’headquarters’ they receive a map future is a choice (rather than an inevitability)
that directs them to encounters in the city. that depends upon our ability to imagine other
lives and realities. As an act of re-imagining our
city it is, ultimately, a work of hope.
16/CREATIVE TEAM/ PRODUCING MFI CRITERIA
PERFORMERS COMPANY PROFILE Tales from the Inner City is a large-scale work
Author Barking Gecko Theatre is a leading professional of considerable ambition. It is a bold adaptation
Shaun Tan theatre company based in Western Australia of Tan’s original work that pushes the boundaries
led by Artistic Director, Luke Kerridge. Barking of what theatre can be and how we tell stories
Director
Gecko produces exquisitely crafted theatre that to young audiences. As the generation that are
Luke Kerridge
inspires audiences to imagine the world anew. arguably most actively concerned about climate
Designer Barking Gecko Theatre’s productions speak to change, this is a meditative, sophisticated work
Jonathon Oxlade children in the here and now – to their inner lives that meets young audiences with the respect
and the experience of growing up in a complex they deserve. It is also a work of broad appeal:
Composer Shaun Tan’s work defies categorisation and
world. The theatre we create is as rich, layered
Alex Somers (international, unconfirmed) crosses generations. Composer Alex Somers
and vibrant as the experience of childhood itself.
Production & Logistics Consultant Our investment in the creation of new theatrical (best known for his collaborations with Jonsi
Drew Dymond experiences is rigorous; we push boundaries, from Sigur Ros) is internationally renowned for
reimagine timeless themes and amplify the his ethereal soundscapes and creates music of
Playwrights skilled at crafting work for unabashed beauty, the perfect underscore for
child’s world-view.
families such as Kate Mulvany and Dan Tan’s surreal worlds and distinctive aesthetic.
Giovannoni will be engaged to adapt the In recent years, Barking Gecko Theatre Company
narrative-driven ‘Satellite’ pieces. has consistently demonstrated is adeptness to Over the years Barking Gecko has had the
collaborate with organisations and Australia’s privilege to adapt other iconic works by Shaun
There will be a cast of diverse performers, Tan: The Red Tree, an intimate in-theatre
leading theatre artists to deliver exceptional
including children. It may be possible for experience, and The Rabbits, a multi-award
productions that are accessible to families, as
the cast to shift from city to city to engage winning new opera for children and families
well as lovers of finely crafted theatre.
local performers. co-produced with Opera Australia, only made
We are honoured to create our work on
possible through the support of the MFI. Tales
Whadjuk country, the ancestral lands of the
from the Inner City is the next bold work Barking
Noongar people.
Gecko will undertake, conceived to speak our
times and the cities our major festivals reside in.
PREVIOUS MFI GRANTS
FUTURE
2015: Perth International Arts Festival and
POTENTIAL
Melbourne Festival: $203,912
Tales from the Inner City is a new Australian work that will take over a city through a series of intimate
2016: Perth Festival: $6,320
and epic installations, site specific performances and ephemeral encounters.
2018: Perth Festival, Melbourne Festival and
Modular in conception, it is envisioned the work will be made up of transferrable parts that could be
Sydney Festival: $139,354
tailored to each city it tours. The central space, or ‘Headquarters,’ is a series of instillations in various
rooms that could be built into an existing space or purpose built. ‘Satellite’ performances are immersive,
site-specific mini-plays that would take place in buildings common to every city – e.g. a museum, a court BUDGET
house, a town hall. Connecting the ‘Headquarters’ and ‘Satellite Performances’ are a series of visual
Budget has been provided.
works that will use the city as a canvas.
As a city takeover, Tales from the Inner City would ideally run for a minimum of three to five days across
a Festival. It is imagined the full work would take around 75 minutes to experience, but it would be
possible to attend just some of the ‘modules’. Part of the creative development process will be to plot
the audience’s pathway and determine the full experience. This is a work for family audiences to enjoy in
the afternoon/early evening and also has potential for schools audiences.
17/GUTTERED
R E ST LE S S DANCE TH EATR E
PROJECT PROJECT
PARTNERS DESCRIPTION
ADMINISTERING Guttered explores the notion of being a winner THE EXPERIENCE
CAIAF FESTIVAL or a loser within the context of ten pin bowling The audience arrive, put on their bowling shoes
Adelaide Festival and reunites the award-winning creative team and are guided to sit in the classic bowling
from Intimate Space. Set in a classic bowling alley booths. In the beginning the audience
alley, with the mesmerising sights and sounds, may not know who is a performer and who
PARTNER the audience will be immersed in the competitive
CAIAF FESTIVAL/S is an audience member. The performers will
and social interaction of a game. With a similar slowly reveal themselves. Sitting in amongst the
Brisbane Festival and TBC
attention to detail as Intimate Space the work action the audience will be privy to intimate
will challenge audiences’ prejudices while making exchanges and bowled over by boisterous
OTHER them laugh and cry. physical action. Dancers will slide and move
CO-COMMISSIONING
PARTNERS along the lanes and take up the challenge to win
FROM MICHELLE RYAN at any cost. Each dancer will be vying for the
N/A ARTISTIC DIRECTOR
OF RESTLESS DANCE THEATRE attention of the audience. The audience will not
Why don’t we allow people with disability only be able to score their game but also their
OTHER FINANCIAL relationships. Exposing the dignity of risk, the
SUPPORTERS to have the dignity of risk? Disability Service
Providers often program bowling into daily living dancers will, at times, be denied the opportunity
Arts South Australia – Richard to succeed. At other times the audience will
programs however guards on the sides of the
Llewellyn Fund And City Of be transported away from the bowling alley to
lanes restrict failure. Failure is a key motivation
Adelaide And Banksa Foundation to develop and learn. witness emotional relationships between these
And James And Diana Ramsay enigmatic performers.
Foundation A bowling alley is such a theatrical setting, the
noise of the pins falling, the smell of the oil from With many duets, ranging from exuberant
the hot chips, the classic bowling shirts and free-for-alls to tender and at times almost
unbearably beautiful, the work will allow the
TIMELINE shoes and the raucous interaction of the bowlers,
it is almost a sensory overload. I can’t wait to audience to uncover the very personal stories
JUL – DEC 2020 share the dancers intimate stories of winning and of the performers with disability.
Development (4 Weeks In Total) losing in this intimate but public context.
JAN 25 – FEB 25
Pre-Production
FEB – MAR 2021
Opening Season – Adelaide Festival
SEP 2021
Second Season – Brisbane Festival
LATER 2021
Third Season – Possible Restless presentation
TBC
18/CREATIVE TEAM/ PRODUCTION OVERVIEW MFI CRITERIA
PERFORMERS The work is set in an active bowling alley. There “Dance Theatre that engages by its simplicity and
Director are no major set elements. Being a site specific moves by its emotional intensity.” The Australian
Michelle Ryan work the team will reconfigure the work to a new
Restless has made a name for itself, presenting
venue. Restless requires 10 lanes and access to
Assistant Director innovative, works of scale that showcase the
the sound and audio visual systems. Bespoke
Josephine Fitzgerald Restless dancers’ unique personalities in
lighting will be developed during pre production
unusual spaces. Over the last five years we have
Music Soundscape to enable to the work to be presented in
presented major works in festival contexts.
Jason Sweeney different venues.
Lighting Designer For the premiere season the work will be RECENT PRODUCTIONS
Geoff Cobham presented in the Woodville Zone Bowling 2020 Seeing Through Darkness
Alley’s event space ‘The Sliders Room’. four-week season Art Gallery of SA
Designer
Meg Wilson 2019 Intimate Space
Seoul Street Arts Festival
Technology Developer PRODUCING
Heidi Angove 2019 Zizanie by Meryl Tankard
COMPANY PROFILE Adelaide Festival
Assistant Director
Restless Dance Theatre is Australia’s leading 2018 Creating the Spectacle
Larissa McGowan
dance theatre company working with artists Adelaide Film Festival
Dancers with and without disability. Our artistic voice
Kathryn Adams, Chris Dyke, Jianna Georgiou, is loud, strong and original. Restless invigorates, 2018 Intimate Space
Michael Hodyl, Alexis Luke, Michael Noble, influences and diversifies dance by creating Bleach* Festival 2018 Commonwealth Games
Charlie Wilkins innovative and highly distinctive works of dance Arts and Culture Festival
theatre. Restless is a place where diversity 2017 Intimate Space
Creative Producer
is celebrated and all artists thrive creatively. Adelaide Festival
Roz Hervey
restlessdance.org 2016 In the Balance
Adelaide Cabaret Festival
FUTURE We are the only Australian dance company
POTENTIAL presenting work professionally with artists with
NA and without disability. Guttered further develops
the presentation of work in non-traditional
venues which Michelle explored so successfully
in her work: Intimate Space which was set in
a working hotel. The unusual venue can help
audiences sidestep their own prejudices and
see the performers as what they are: dancers
performing exceptional work – who happen
to have a disability. Our work is unique. The
individuality of the Restless artists is a major
strength of the company. The dancers do not
fit the stereotypical dancer image but it is
in their difference that audiences see their
beauty and creativity.
PREVIOUS MFI GRANTS
Seed – Zizanie
BUDGET
Budget has been provided.
19/THE INVISIBLE OPERA
AUSPICI O US ARTS PROJECTS I NC .
PROJECT PROJECT CREATIVE TEAM/
PARTNERS DESCRIPTION PERFORMERS
ADMINISTERING The Invisible Opera is a contemporary music Writer; Music Direction; Performer
CAIAF FESTIVAL theatre work for public space. Sophia Brous (Aus)
RISING (Melbourne International Presented as a 60-minute performance Sophia Brous is a cross-disciplinary musician,
Arts Festival) intervention in a central square of a city composer and performance-maker. She creates
centre, The Invisible Opera is a surreal new, commissioned collaborative works and
PARTNER examination of the dynamics of private interest performances with companies, festivals and
CAIAF FESTIVAL/S in our shared public environment. Unfolding as artists internationally. Brous was 2016-2018
N/A a cinematic observation of the behaviours and resident artist at National Sawdust, New York
patterns of everyday life, a bustling metropolis and twice resident artist at The Watermill
gradually gives way to mass spectacle, as Center, New York. She was 2019 finalist of the
OTHER CO-COMMISSIONING
PARTNERS forces of city surveillance, hostile architecture, Melbourne Prize for Music and recipient of
laws of assembly and creative activation the inaugeral Creative Victoria Creator’s Fund
Brooklyn Academy of Music (BAM),
begin to choreograph the space like a kind and the World Tour Scholarship of the Berklee
New York – ‘work in-residence’,
of invisible theatre. School of Music. Brous is Artistic Associate
project partner, future presenter of the Arts Centre Melbourne where she
Utilising immersive sound design, electroacoustic
founded Supersense; Festival of the Ecstatic
NURA Headphones – (in-kind) orchestration, vocal performance,
and is current Curator at Large of Pioneer
choreography and large-scale scenic design,
Works, New York. Recent touring projects and
Arts Centre Melbourne – in-kind the work is a mesmeric examination of what we
commissions include Dream Machine (2021 The
see and do not see in our public environment.
rehearsal venue for rehearsals Barbican, Todays Art Den Haag, Red Bull Music
It catalogues a taxonomy of our public
Festival, Scopitone Festival); Mount Analogue
environment, and reveals how private interests
OTHER FINANCIAL (2021 Ultima Festival/Oslo Opera House/
of real estate, big data, tourism and city planning
SUPPORTERS Norwegian Arts Council); When The World’s On
shape our collective behaviour.
Australia Council of the Arts Fire (The Kennedy Center Washington/Direct
2020 creative development Created by cross-disciplinary performance- Current) with Marc Ribot; song cycle Lullaby
makers Sophia Brous, Lara Thoms and Faye Movement (2019 Operadagen Rotterdam, 2021
Driscoll (USA), the work operates at the Southbank Centre London); and New York
Brooklyn Academy of Music (BAM)
threshold of contemporary music theatre and large ensemble EXO-TECH, with David Byrne,
2020 creative development
public intervention. Site specific and unique to Kimbra, Colin Stetson, Questlove, Sean Lennon
each new city, it responds directly to landscape and Yuka Honda Other engagements include
Arts Centre Melbourne and community, and exists easily as a COVID the world premiere of Music and Poetry of the
Early phase creative development Safe, socially distanced work for performers Kesh by Ursula K Le Guin; In Dreams: David
and audience. Lynch Revisited for The Barbican London, Paris
Philharmonie; Hallucinations for DOCUMENTA
TIMELINE Performed as a back-to-back performance
Athens 2017, The Arthur Russell Retrospective
cycle in which each new audience inadvertently
Concert for the Brooklyn Academy of Music; 200
FEB – MAR 2021 become performers for the next audience’s
Motels by Frank Zappa, with the BBC Concert
Remote pre-production – creative team/ viewing, the work can be presented for up to
Orchestra, for Southbank Center/Rest is Noise
contractors six audiences across an evening and operate
Festival); and Gorgon (National Sawdust).
simultaneously as a ticketed work and public
MAR 1 –5 2021 intervention. Using dynamic audio technology,
Technical design development – sound, prop and production design integrating existing city
scenic design testing architecture, and instructional participation
(via the audiences’ mobile phones and own
MAR 8-12 2021
headsets), the work ultimately leads the
Ensemble rehearsals
audience into becoming complicit in the public
spectacle, only for it to start all over again.
MAR 12-14 2021
Work in progress performances; documentation
20/Dramaturgy; Direction FUTURE MFI CRITERIA
Lara Thoms (Aus)
POTENTIAL Co-created by two of Australia’s leading
Lara Thoms as an Australian director, contemporary artists working in performance,
The Invisible Opera is a current new work
performance-maker and performer interested in who have produced work of distinctive
in-residence at the Brooklyn Academy of Music
socially engaged, site-specific and participatory impact, quality and vision across artforms
(BAM), New York. Several phases of creative
possibilities in contemporary art. Her work has and discipline in Australia and internationally.
developments have been undertaken at the
been presented with the Theatrespektakle and Sophia Brous and Lara Thoms experience
BAM Fisher Theatre since 2019, and discussions
Nooderzen festivals (for which she won the ZKB spans music, performance, public participation,
are underway for presentation in the 2021/2022
Patronage Prize and the ZKB Audience Prize and site-specific performance, and together
seasons, subject to covid measures.
2019 for We All Know What’s Happening), Sydney with the exceptional US choreographer and
Opera House, SICK! and ANTI festivals, PIAF, Additional development partners have included
performance-maker Faye Driscoll, The Invisible
Melbourne Festival, The Malthouse, Next Wave The Watermill Center New York (Sophia
Opera represents a distinctive opportunity for
festival, the MCA, Performance Space, Radial Brous solo residency, January 2020) and Arts
collaboration between three highly respected
System v Berlin, as well as many venues and Centre Melbourne.
female-identifying artists.
institutions. She is current co-Artistic Director of
Current discussions with potential future
Aphids, was a curator/ producer for Dark Mofo The creation of a dynamic, site specific outdoor
presenters include Manchester International
Festival and works as an artist with Field Theory. work of scale has been carefully considered in
Festival/The Factory; Manchester UK; Komische
relation to the potential restrictions that may
Choreographer Opera, Berlin; Operadagen Rotterdam; and
be in place due to COVID-19. The work’s design
Faye Driscoll (USA) Holland Festival.
utilises technology that will allow audiences
Faye Driscoll is a Bessie award-winning This work has been designed for touring. The to use their own handsets and headphones,
choreographer and director whose work is touring party will be limited to three to five whilst the outdoor location will enable a group
rooted in an obsession with the problem of being pax, and the work will have a large local impact participation in a socially distanced context, and
“somebody” in a world of other “somebodies” tailored to each city site-specifically. The key the ability for additional hygiene protocols for
and all of the conflicts and comedy born in our artists will work with a local performance audiences and performers to be enacted. This
interactions with others. Driscoll’s work has ensemble and design the show and text for ensures the work can be safely presented over
been commissioned by Walker Art Center, New each site uniquely. the coming years.
Museum, Wexner Center for the Arts, Institute With a highly flexible presentation mode, it also
for Contemporary Art/Boston, Danspace
Project, HERE Arts Center, The Kitchen, Dance
PRODUCING offers presenters the ability to attract a large
Theater Workshop, American Dance Festival,
COMPANY PROFILE audience over multiple performances within the
same night.
Fusebox Festival, UCLA, CounterPULSE, and Auspicious Arts will auspice the creative
The Yard. Driscoll has collaborated with theater development funds for Sophia and Lara. They Conceived and led by artists based in Melbourne
and performance artists including Young Jean will manage artist contracts and payment of fees, and New York, the work seeks to reimagine our
Lee, Cynthia Hopkins, Taylor Mac, Jennifer wages, on costs and insurances. familiar city-scapes and encourage audiences
Miller, and the National Theater of the United to connect with their cities, and with each
In addition, Independent Producer, Freya other, in new ways. The Invisible Opera will
States of America. She received a Guggenheim
Waterson will provide project and budget be highly responsive to each city it is presented
Memorial Fellowship, Creative Capital and was
oversight and manage liaison between the in; altered and inspired by each new site and
Artist-in-Residence at Baryshnikov Arts Center,
MFI, Festivals and the Artists. presentation context.
Park Avenue Armory and Mass Live Arts (2015).
She received her B.F.A. from Tisch School of the
Situated somewhere between staged
Arts at New York University. She most recently
performance, music theatre, participative
premiered the third part to her celebrated
choreography, public art and public spectacle,
trilogy Thank You For Coming: Space.
The Invisible Opera is designed as a site specific,
participatory, contemporary performance
experience that will deliver impact and quality
for audiences.
PREVIOUS MFI GRANTS
N/A
BUDGET
Budget has been provided.
21/AEON DAGGER
I N S IT E A RTS INTERNATIONAL
PROJECT PROJECT SEEDS OF THE WORK
PARTNERS DESCRIPTION • Unseen worlds beyond our knowing
AEON† by Justin Shoulder and perception.
ADMINISTERING
CAIAF FESTIVAL AEON† is an in-theatre work for Playhouse size • Drawing from Mythos of Ancestral
Rising Festival theatres or larger studio spaces Filipnx and Queer Lineage to Imagine
a Filipinx Futurism.
Fusing Filipinx myth, puppetry and queer
PARTNER • Interspecies communication/kinship: how
pageantry as ceremony, AEON† is a work
CAIAF FESTIVAL/S to listen to the environment?
imagined by acclaimed Sydney artist Justin
Sydney Festival
Shoulder. AEON† births a hypnotic ecology • Spaces for dreaming/becoming: offer
of beings that emerge from the muck of a possibilities of alternate futures and
OTHER decomposing parallel world. alternative ways of being beyond what
CO-COMMISSIONING
PARTNERS Aeon—meaning a vital force, or an indefinite we are experiencing now.
N/A period of time—bears tension with †(dagger): • Bodies and beings that resist categorisation.
the symbol placed beside the name of a species
indicating it has become extinct. The world • Flora/Fauna Responses to threat:
OTHER FINANCIAL Aposematism, startle displays, mimcry
SUPPORTERS of AEON† speculates a realm between the
infinite and the definite. The performance space and sonic responses.
Justin Shoulder
becomes a fertile petri dish incubating distinct • Quick Change Costumes, Masquerade,
and recombinant organisms. Drag and Pageantry languages offer
TIMELINE With an extraordinary team of collaborators modes of display in parallel to Flora/Fauna
including Corin (music composition) Matthew Startle Displays (aposematism) larger
JUL 2020 scale dynamic and transformational set
Stegh (co-designer) and Victoria Hunt (mentor
Justin Shoulder (Director/Performer) and costumes and other performers on
and collaborator), AEON† invites us to cross
and Matthew Stegh (Design) working on stage with Justin to articulate the sets
time, from the origins of life to glimpses beyond
development of visual treatment and designs and costumes.
its end.
for AEON DAGGER
The work extends on Justin’s Phasmahammer, In October Justin’s will present an episode
Making of Selected Set/Costumes Pieces (extract) of the work as part of the Liveworks
an eco-cosmology of alter personas based on
Justin Shoulder working with Corin Ileto queered ancestral myth. Creatures birthed at Carriageworks. The works forms part of the
(Composer) and Victoria Hunt (Rehearsal are embodied through hand crafted costumes development of the larger scale work. Future
Director) and prosthesis and animated by their own and committed commissioning partners to
gestural languages. this work include Liveworks (Performance
AUG 2020 Space) Fusebox Festival (Austin Texas), Fierce
Free falling they recall the past in order Festival (Birmingham, UK) and Montréal, arts
Making of Selected Set/Costumes Pieces
to imagine a future of infinite-love- interculturels (MAI, Canada).
Justin and Victoria working with performers possibility. Rhincodon cruise through oceanic
and completed set pieces/objects and malls, Bakunawa ride countercurrents all the way This development was supported by Create
costumes to the Skyscraper: Jaws of the Horizon aka The NSW and City of Sydney.
Edge. Future life forms abound vertically in the
SEP 2020 great continual unfolding…
Justin and Victoria working with performers
and set pieces
Preparation for Site Development Showing
22/You can also read
