We work with passion and drive to ensure that our young people get the best ATYP experience they can.
ARTISTIC DIRECTOR | he/him/his
Fraser is a director, dramaturge and the Artistic Director of the national youth theatre company Australian Theatre for Young People (ATYP). He is one of Australia’s most experienced Artistic Directors, having run Riverland Youth Theatre (2001-2003), Backbone Youth Arts (2005-2008) and been the Associate Director at La Boite Theatre (1996-2000).
He is recognised as a leader in the development and presentation of theatre with and for young people and has worked in collaboration with leading companies, festivals and venues across Australia and internationally.
Fraser is a passionate advocate for new work and has commissioned and developed over fifty productions. His work has challenged perceptions of ‘youth theatre’ in Australia, receiving the nation’s highest awards for excellence and placing work with and for young people on the national stage. Fraser has worked with Australia’s leading performing arts companies, venues and festivals including Sydney Theatre Company, Sydney Opera House, Darwin Festival, Brisbane Festival, Sydney Festival, Queensland Theatre Company, Opera Queensland, Belvoir and Ensemble Theatre amongst others. His work has been presented in every state and territory in Australia as well as the UK, Canada, South Africa, the USA and Japan.
His 2016 season of Sugarland by Rachael Coopes and Wayne Blair received the Helpmann Award for ‘Best Touring Production’ at Australia’s national theatre awards. The collaborative production Patrice Balbina’s Chance Encounter with the End of the World, created with artists from six international theatre companies has been presented in Australia, Canada, the USA and South Africa. In 2012, 2015 and 2017 he was invited to Okinawa to work with international artists to create work for young audiences that could speak across countries and cultures. Under his direction, ATYP has been nominated for most of Australia’s awards for excellence including Helpmann, AWGIE, Sydney Theatre, Greenroom, Glugg and Sidney Myer Awards.
Fraser regularly sits on industry panels and advisory groups for all levels of Government, Foundations, advocacy organisations and peak bodies. These have included the Australia Council for the Arts, Create NSW, Arts Queensland, South Australian Youth Arts Board, Sidney Myer Foundation, Young People and the Arts Australia, Sydney Arts Managers Advisory Group, Metro Arts, Australian Performing Arts Centre’s Association and Metro Arts amongst others.
DIRECTOR OF STRATEGIC INITIATIVES
Johanna holds a Masters of Management in Arts Management (UTS) and a Bachelor of Arts in Communication (UTS). Prior to joining Monkey Baa Theatre Company as Development Manager in 2018, Johanna held various roles at NIDA beginning as the NIDA Open Administration Assistant in 2006 and by 2011 was the Producer/Head of Venues. In 2018 she was the Associate Producer at Shaun Parker and Company.
Johanna has spent a number of years living and working overseas including a British Council-supported placement with English Touring Theatre.
MARKETING & COMMUNICATIONS MANAGER | she/her/hers
Lucy is a Marketing and Communications specialist and freelance writer, holding a bachelor’s degree in Media and Communications and Masters degrees in Literature and European Classical Theatre. She joined ATYP in February 2021 after returning from working for London’s National Portrait Gallery. Prior to that, she was just up the hill at Griffin Theatre Company!
Having loved theatre forever and worked as an actor in a former life, including a year as a Bell Shakespeare Player, Lucy is passionate about the transformative impact theatre and the performing arts can have on the lives of young people, and is so thrilled to be working for a company that champions exactly that.
While studying Performance at the University of Wollongong, it became apparent to Amanda that she was NOT a performer. She found herself organising the events, the fundraising, the marketing and somehow kept leaving herself off the stage. She loved theatre, she loved being around artists, and she loved a good spreadsheet.
After completing a Master of Arts in Theatre (UNSW), Amanda worked with Merrigong Theatre Company in Venue Services. From there she held her first role working with young people as the General Manager at Shopfront Youth Arts.
She spent a short time outside of the industry, as Operations Manager at Ideal Gyms. While a very valuable experience, Amanda realised the Arts was where she belonged, and she will never leave again!
Amanda returned to youth arts as the General Manager at PYT Fairfield. She was Treasurer on the board of Crack Theatre Festival for 2 years and is currently studying a Master of Financial Analysis (UTS).
She is thrilled to be bringing her extensive experience in youth theatre, finance, business administration, project management and producing to ATYP. She is passionate about access to the arts as a democratic right for all young people, and is proof of the fact that it takes all sorts of people to build a thriving theatre industry – including people who love spreadsheets.
HEAD OF LEARNING | she/her/hers
Jacqui is passionate about providing opportunities for young people in drama and theatre, through workshops and productions. As Head of Learning at ATYP she develops innovative live and digital programs for schools, young people and emerging artists.
She has extensive experience as a Drama and Film teacher in Sydney schools and has been the Education Manager at Sydney Theatre Company, NIDA, AFTRS and Bell Shakespeare.
Jacqui’s background is as a singer and performer, having recorded and toured with the Australian band ‘Girlfriend’ in the 90’s.
DEPUTY WORKSHOPS MANAGER | she/her/hers
Claudene’s love of the Theatre started at a young age when she played a starfish in The Little Mermaid and she has never looked back from there. After completing a Bachelor of Arts at the University of New England Claudene worked as a performer in Melbourne, spending a few years with Theatre in Education Company Fables and Frolics (and she can still rap in Italian). She worked in the front of house team (and had a surprise ‘cameo’ appearance in The Lion King once) and as a Theatre Administrator for the Ambassador Theatre Group at theatres across the West End.
Claudene joined the ATYP team in early 2017, starting on the front desk before shifting into the workshops department. She is extremely passionate about creating workshop and theatre experiences for young people that she would have loved to be a part of when she was young.
PRODUCTION MANAGER | She/her
RESIDENT DRAMATURG | she/her/hers
Jane has been Resident Dramaturg at ATYP since 2017. Her work at the company includes being Dramaturg on commissioned plays, mentoring emerging writers, and looking after our national writing programs including Fresh Ink and National Studio.
She has also been a Literary Manager at Ensemble Theatre, where she’s been Dramaturg on plays including Black Cockatoo. For Sydney Theatre Company she has worked as Literary Manager, Artistic Associate and Administrator of the Patrick White Playwrights’ Award as well as Dramaturg on mainstage productions and new writers’ programs.
She has worked as a script reader for the Royal Court London, ANPC, Playworks and STC Young Playwrights’ Award, and as dramaturg on National Script Workshops for Playwriting Australia. She worked for 15 years as a Mentor with Year 12 students on HSC creative writing projects. She’s also an amateur flamenco dancer.
DEPUTY EDUCATION MANAGER | she/her/hers
Monique has a Bachelor of Arts in Arts Management after graduating from the Western Australian Academy of Performing Arts in 2016. She has worked for Spare Parts Puppet Theatre in Fremantle, WA as their Marketing and Communications Officer. For the past three and a half years she has been at Bell Shakespeare across various roles in Operations, Company Management and Education, most recently as their Education Programs Officer. She worked across their national Education program in the Learning team and the Company Management team managing their flagship Education touring program for schools The Players. As well as a three-month stint as Acting Head of Education in 2019 for a long-service leave cover.
Monique is extremely excited to be a part of the wonderful ATYP team. She is a passionate believer in theatre being used as a successful tool in innovating learning and enriching the lives of young Australians and cannot wait to see all the amazing Education programs take shape.
FINANCE & OPERATIONS COORDINATOR
Yoko is the finance coordinator for ATYP. She has had a career in finance and various roles in her native Japan, London and her adopted home in Sydney working for a media company for last 8 years, a big 4 firm and airlines. She enjoys balancing numbers as well as balancing life and leisure, and is delighted to be able to achieve both working with this organisation that helps young people shine!
Justin is a graphic artist who has been working within the entertainment industry since 2004.
Theatre and film companies etched upon Justin’s bedpost include The Ensemble Theatre, Griffin Theatre Company, Darlinghurst Theatre Company, Star Media Group and most notably Plaza Films. Under the experienced eye of director Paul Middleditch, Justin worked as Director’s Assistant whilst at Plaza, where he finely-tuned each director’s stylistic vision for the commercial in play, creating the pitch-perfect treatment, ready to win over the Don Drapers of today’s ad world.
Justin has forever had a fascination with key art. He sees it as a perfect marriage of his love of stage and screen and his skills in graphic design. Justin’s visual art series entitled “I am the product of all that I produce” was exhibited at the Art Gallery of NSW and now hangs peacefully in the halls of his former high school.
DEVELOPMENT COORDINATOR | she/her/hers
Since Meg was young, she has always loved storytelling and theatre. This passion led her to study creative writing at the University of Wollongong where she graduated with first-class Honours in 2019.
Meg was first introduced to ATYP in 2018 as a participant for the National Studio where her play Dead Things was produced as part of Intersection 2019: Arrival and published by Currency Press. In 2020, she was a writer for UOW’s production On The Edge Of The Known World, and developed her play Hiding Lights in Dark Places with Elbow Room Productions as part of their development series. Currently she is part of bAKEHOUSE and Montague Basement’s The Laboratory.
Meg is proud to be a part of a theatre company that fosters voices and stories for and by young people.
MARKETING AND DIGITAL COMMUNICATIONS OFFICER | she/her/hers
Erica holds a Bachelor in Marketing and Media from Macquarie University and was involved with Macquarie Musical Society as a performer, producer, choreographer, and vocal director for the duration of her studies. She now spends her spare time gallivanting around Sydney performing with societies such as Hornsby Musical Society, Packemin Productions, Willoughby Theatre Company, and Noteable Theatre Company.
Erica is proud to be associated with a company that has such a positive impact on the lives of young performers.
ADVOCACY OFFICER | she/her/hers
Bec has a BA Acting and MA Research (Playwriting) from QUT. Her writing and performance work, in theatre and a short film, has been awarded, toured and broadcast on ABC Radio and TV.
Bec was Client Service Executive for Network Ten, ABC and Southern Star with Audience Development Australia, delivering qualitative research on TV pilots, ongoing series and talent. She has worked in administration, marketing and events roles for Playworks, Australian Directors’ Guild, Actors College of Theatre and Television, Seymour Centre, Monkey Baa, the Australian Press Council, and for independent producers.
She has volunteered in disability respite and recreation services with ERR, in arts community development events with writing collective ISM, and SAMAG, and in Primary Ethics teaching.
ADMINISTRATION COORDINATOR | she/her/hers
Janine has loved stories and storytelling ever since she endured the soul-crushing experience of reading The Little Prince as a kid. In 2019, Janine joined ATYP as an Arts Administration trainee under the ArtsReady program so that she could spend her time learning more about two things she is extremely passionate about – young people and the Arts. She’s been stoked to be the friendly face at ATYP’s front desk ever since.
Outside of her role as ATYP’s Administration Coordinator, Janine has been working in theatre and film. Her recent theatre credits include Yellow Face (Dinosaurus Productions/KXT – Producer), Iphigenia in Splott (New Ghosts Theatre Company/Flight Path Theatre – Assistant Producer) and I’ve Been Meaning to Ask You (ATYP/The Good Room – Production Coordinator). Additional film credits include Refused Classification (Dir. Chris Elena – 2nd Assistant Director) and Right Here (Dir. Claudia Bailey – Social Media). She is currently a Producer on New Ghosts Theatre Company’s Hush and MTM Productions’ short film Pearly Gates.
Janine is also a member of the Australian Human Rights Commission’s 2021 Expert Advisory Group for their Racism. It Stops With Me campaign refresh and youth film collective Film In Revolt.
Dan was born in Sydney and has had a long history living alongside the performing arts, from amateur theatre to interventionist performance art before completing a Bachelor of Visual Arts degree at the Sydney College of the Arts.
Since then things Dan has done include but are not limited to; Theatrical projection and sound operation, corporate staging, typesetting and illustrating for Bookhouse, a range of web and magazine publishing for a variety of small businesses, New Media Developer for ABC Innovation, Geek in residence with Tasmanian Symphony Orchestra and with Bangarra Dance Theartre, Technical Digital Producer for WWF Australia. He loves connections between art and science and is extremely pleased to be working with ATYP.
Judith Seeff is a qualified archivist who worked in all sorts of organisations’ archives until landing a wonderful part-time position establishing the archives at Sydney Theatre Company in 1996. Recruited to do the same at ATYP in time for its 40th anniversary in 2003, Judith is in the enviable position of managing the only two dedicated performing arts’ company archives in the country.
DIGITAL ENGAGEMENT DESIGNER | she/her/hers
Georgia has a BA Arts Double Major in Theatre and Film Production from Notre Dame. She continued her studies in performance and writing, by attending every ATYP workshop she could get her hands on. Age permitting of course.
Georgia has since worked as a freelance videographer, editor and artist, developing a range of projects with ATYP, Sport For Jove and regional businesses in NSW and QLD. Her work in content creation and digital media management stretches across multiple industries, where she continues to work as a social media coordinator and multimedia designer.
Outside of her role at ATYP, Georgia has acted in theatre, film and television, written two-hander plays and dabbled in some gardening.
As a member of the ATYP community, Georgia is excited to pay forward the wonderful learning experiences she has had by assisting young creators and performers through her role.
PRODUCTION COORDINATOR | he/him/his
As a Stage Manager, Sorie has worked on ATYP productions Lights in the Park (2021), CUSP (2020), Follow Me Home (2019), Intersection 2019: Arrival, Charlie Pilgrim (or A Beginner’s Guide to Time Travel) (2018), Dignity of Risk (2017), Fight With all Your Might the Zombies of Tonight (2016), War Crimes (2015), Rainbow’s Ending (2011), and Click (2011); and for the NSW State Public Schools Arts Unit with The Grandfathers (2012), The Miracle (2012), We Lost Elijah (2013), What Are They Like (2013),
Cyberbile (2014), and DNA (2015); along with OnStage, Writers OnStage and the NSW State Drama Festival since 2012; and Pronoun (2015) with Bittersweet Productions. He was Production Assistant on Spring Awakening the Musical for ATYP (2016).
Sorie has also worked as an actor in several productions, including the
2004 Sydney Festival and the 2006 Adelaide Fringe Festival. He has also appeared onscreen in All Saints and the short film, Secrets of Seduction.
CHAIR – CHRIS PUPLICK
Mr Christopher (Chris) Puplick AM (BA (Hons), MA (Syd)) has a major interest in the arts and was the inaugural Chair of the National Film and Sound Archive of Australia (2008-2011); a member of the Theatre Board of the Australia Council and of the Board of the National Institute of Dramatic Arts (NIDA). He served as a Senator for NSW in the Commonwealth Parliament (1978-81 and 1984-1990) and was Shadow Minister for the Environment, Arts and Heritage. After leaving parliament Mr Puplick served for a decade as President of the NSW Anti-Discrimination Board and NSW Privacy Commissioner and as Chair of the Australian National Council on AIDS, Hepatitis C and Related Diseases. He is currently the Chair of the Board of the NSW Justice Health and Forensic Mental Health Network and a Senior member of the Administrative Appeals Tribunal.
ATYP Board observer in 2021
An Awabakal woman of Worimi and Biripi descent, Samara has a background in Law and Human Rights, and has worked in regulation, program and policy development, and curriculum design, largely within the Indigenous affairs sector. She is also founding member of the National Indigenous Youth Education Coalition. Samara is a participant of the 2021 Observership Program.
As Advocate for children and young people here in NSW, Andrew listened to over 30,000 children and young people and was present for 10,000 face to face consultations. His consultation with young people doing it tough including experiencing homelessness was central to working with ATYP.
Andrew brings 30 years of experience at a senior level at the national and international level. He was the UN Representative and Head of New York Office for Save the Children (USA); Director of Public Policy and Advocacy on Children in Crisis and Emergency (Washington DC), Lead on Save the Children’s global strategic plan on child protection (Sweden), Head of Programs Effectiveness, Policy and Advocacy for Plan International (UK); Deputy Secretary General and Secretary General for ChildFund Alliance (USA). Here in Australia, he held the position of CEO in the Australian Republican Movement, Australia Council of Social Service, and the Reichstein Foundation as well as the inaugural NSW Advocate for Children and Young People.
In developing global strategic plans and their accompanying business plans for Save the Children, ChildFund Alliance and Plan International, through a process of consultation and inclusion drawing upon participatory mythologies and human rights approaches.
As a trainer and mentor Andrew has worked across the globe and conducted training in advocacy, campaigns, human rights approaches and child rights and child safety. He was adjunct Professor at New York University developing and teaching courses on child rights, Human Rights, and on the history and development of NGOs.
Gillian Larkins was appointed Chief Financial Officer of ASX in October 2018. In this role, she is responsible for ASX’s Finance, Investor Relations and National Facilities functions. Ms Larkins has over 25 years of experience in finance, strategy and management roles across a number of industries. Prior to ASX, Gillian was at Perpetual Limited for 6 years as CFO, where her role encompassed finance, technology, legal, compliance and risk responsibilities. Before Perpetual, Gillian was CFO of Westpac’s Institutional Bank and CFO for Citigroup’s operations in Australia and New Zealand. Ms Larkins has also served on numerous boards including Hastings Funds Management from 2009 to 2011 and The Trust Company (Sydney Airport) Ltd from 2016-2018.
Daniel Selikowitz holds an MBA (Harvard) and BA/BLaw (USyd) and is currently a Partner at Boston Consulting Group and a leader in the Public Sector and Corporate Finance & Strategy practices in Asia Pacific. Daniel has previously held roles in the US with The Harbus News Corporation and L Catterton. Daniel was a Board Observer at the Australian Chamber Orchestra.
Donna Worthington is a Partner at MinterEllison Consulting. A leader of Risk & Regulation Transformation and Strategy with experience managing complex portfolios within large organisations, Donna has a blended background of working in Financial Services and consulting, having worked in Big 4 consulting and for large ASX50 Financial Services institutions in executive management roles. Donna is a Board Advisor to PeopleStories Foundation.
Fraser is the Artistic Director of ATYP. He has been the Artistic Director of Backbone Youth Arts (Qld, 2005-2008) and Riverland Youth Theatre (SA, 2001-2003) and the Associate Director of La Boite Theatre (1997-2000), Queensland’s second largest professional theatre company.
As an Artistic Director Fraser has been a passionate advocate for new work, commissioning and producing over twenty new plays and productions. Highlights include Australia’s first major opera composed for young people, Dirty Apple (Backbone Youth Arts/Opera Queensland/Queensland Music Festival) the new Australian musical Paradise (Backbone Youth Arts, published by Playlab Press) and AWGIE award winning I Said a Word by Stephen House (Riverland Youth Theatre). He has directed over thirty productions for professional, independent and youth theatre companies around Australia. For atyp he has directed The Laramie Project, Rio Saki and Other Falling Debris, Desiree Din and the Red Forest, Ishmael and the Return of the Dugongs, and The Tender Age.
Fraser has sat on advisory bodies at all levels of the industry including as a peer assessor for Arts Queensland (2009 -), the Theatre Board of the Australia Council for the Arts (2008–2011), Company Associate of Queensland Theatre Company (2006–2008), a board member for Young People in the Arts Australia (2007–2009), Chair of the selection committee for the Youth Arts Mentoring Program (YAMP) (2006–2008), a board member of Metro Arts (2005–2008) and part of the selection panel for Queensland’s theatre industry awards. He was one of seven Australians selected for the ‘Next Generation’ international collaboration which ran from the 2008 to the 2011 ASSITEJ World Congress and Performing Arts Festivals.
Fraser has been ATYP Artistic Director since February, 2009.
Tasnim Hossain is an artist and communications professional. She is part of Melbourne Theatre Company’s Women in Theatre cohort for 2018, where she is being mentored in dramaturgy and literary management. She was the Resident Playwright at ATYP in 2017 and has been connected with the company through various writing programs since 2013. Tasnim has worked in communications, digital marketing and advertising, largely in the not-for-profit sector, and has also written for television.
An intellectual property and entertainment lawyer by profession, Janine Lapworth has held positions such as Senior Lawyer at the Australian Broadcasting Corporation and Assistant General Counsel and Company Secretary of ESPN STAR Sports in Singapore. She returned to Australia in 2010 and is currently working as a researcher and international regulatory consultant. To ATYP she brings extensive experience with a range of media and arts organisations, as teacher, performer, adviser and board member.
Celebrating his 35th year in the entertainment business, Mark Morrissey is the founder and Managing Director of Morrissey Management, one of Australia’s most successful and leading talent management companies.
As a manager, Mark has nurtured some of the biggest names in Hollywood to fame including Chris Hemsworth, Liam Hemsworth, Shalom Brune-Franklin, Jai Courtney, Luke Bracey, Kate Ritchie, Georgie Parker and Yerin Ha.
Mark also Executive Produced Australian film and television projects
“Molly” for Channel 6.5 million viewers cumulative (Winner Logie Award Best Drama), “The Last Time I Saw Richard” (WINNER AACTA Award for Best Short Film) , “Boys in The Trees” Feature, and “Sarah’s Channel” Web series for ABC (40 million viewers YouTube).
In 2019 Mark became a partner in FIRST OPTION PICTURES, a new international production venture.
An award-winning PR specialist, Nicole is the founder and CEO of The Impact Agency, with previously held PR and marketing roles at Universal Press, Profile Communications and the NSW State Government. Nicole is the current Chair of the PRIA Registered Consultancy Group.
Upon graduation from Theatre Nepean (2002), Marika Aubrey was awarded the Big Brother Drama Award to study performance in the UK. Since then, Marika has performed across television, film and theatre, with roles in Channel 7’s All Saints, and feature film FEED, co-starring Jack Thompson.
In 2007 she won the Showcase Award in the Annual Sydney Cabaret Showcase, and the following year appeared in the Short, Sweet + Song festival – for which she received a Best Actress nomination. In 2008, Marika starred in Kookaburra, the National Musical Theatre Company’s productions of popular musicals, I Love You, You’re Perfect, Now Change and Songs for A New World. Other performance credits include headlining at the Sydney Theatre Company All-Star Cabaret, Light The Night and ACON Concerts.
In 2009 she performed her critically acclaimed solo show, CAUTION: Aggressive Birds, which saw her named Best Cabaret Performer 2009. Marika appears on the Generation WhY? album with Hayden Tee, has recorded Meadowlark on the second Showqueen Sessions live CD, and recently completed an EP of songs from her one-woman show, REDHEAD. In 2010, Marika toured REDHEAD to the infamous cabaret room, Don’t Tell Mama, in New York City, followed by a sell-out season at the Adelaide Cabaret Festival. Whilst at the Adelaide Cabaret Festival, Marika performed alongside Natalie Cole, Donna McKechnie and Caroline O’Connor in the opening night Variety Gala Performance, and worked with Liz Callaway and Stephen Schwartz in a concert of his work, Stephen Schwartz & Friends.
In 2011, Marika understudied Rachael Beck in the national Australian tour of Jason Robert Brown Live in Concert, as well as working with internationally renowned composers, Georgia Stitt and John Bucchino, in GEORGIA STITT, JOHN BUCCHINO AND FRIENDS: IN CONCERT (Brisbane and Sydney). Marika was honoured to join the workshop cast of James Millar and Pete Rutherford’s A Little Touch of Chaos earlier this year, playing Sue, before being cast opposite Rob Mills in The Last Five Years. Most recently, Marika re-visited the role of Titania in A Midsummer Night’s Dream.
Claudia is a graduate of the University of Western Sydney’s Theatre Nepean, where she acquired a Bachelor of Performance. Over the years Claudia has produced, performed and directed productions throughout Sydney.
As a producer, Claudia has mounted several successful Australian and International plays under the names Bareskin Productions (2005-2007) and Mad March Hare Theatre Company- MMH (2011-present). As a director Claudia’s credits include- 2017: The Martin Lysicrates Prize, (Griffin Theatre), Time Stands Still (Eclipse Productions- The Tap Gallery), Dry Land (Mad March Hare/ Outhouse -KXT), Bengal Tiger at the Baghdad Zoo (Mad March Hare/ Red Line Productions- Old Fitz), 2016: Belleville (MMH/Red Line Productions- Old Fitz), 2015: Those Who Fall in Love Like Anchors Dropped Upon the Ocean Floor (Loud Mouth) Shivered (MMH-PACT), Scrub: 24 Hour Playwright Project- Bondi Feast (Rock Surfers), The Diary of Anne Frank (New Theatre- AD) and Slut-The Play (ACTT Graduates). In 2018 she is directing DNA (L.O.S.T- KXT),You Got Older (MMH-KXT) and Eurydice MMH-Old Fitz).
Acting credits for theatre include; Dark Vanilla Jungle (MMH/ Sydney Fringe Festival-Old 505), A Moment on the Lips (MMH-Old Fitz), Top Girls and Vernon God Little (New Theatre), An Alley (Mayday Playwriting Festival) Baby with the Bathwater (Sydney Fringe Festival), Titus: The Ultimate Murder Ballad Musical (Gumption Uber Theatre- Darlinghurst Theatre), and Dole Diary (Bareskin Productions-PACT). Television credits include recurring guest roles on various TV series including Home and Away (2016-present) and Headland. Film credits include; Slappin, (James Breen) Plates (Gus Holland-Burns) and Overachiever (Russell Crawford) and most recently the feature film The Tail Job. (Bryan Moses).
In 2008, Claudia completed a Post-Graduate degree in Primary School Teaching. As an educator she has worked for the Department of Education in Primary Schools across Sydney both as a classroom teacher and a Drama Specialist. Claudia has been employed as a private tutor for Year 12 Drama HSC performance, audition preparation and directing of screen tests for adults and industry professionals and is also a regular guest tutor at Brent Street School of Performing Arts
Jessica Bellamy is a Sydney-based playwright. She holds a Graduate Diploma of Dramatic Art in Playwriting (NIDA) and Bachelor of Arts (Hons)(UNSW) and has been a Griffin Theatre Playwriting Australia Associate Playwright (2011/12). She is the recipient of the 2013 ATYP Foundation Commission, writing Compass, and is winner of the Rodney Seaborn Playwrights Award 2011 for Sprout (Pedro Collective and Tamarama Rock Surfers).
Other plays include: Shabbat Dinner (Tamarama Rock Surfers); Fight or Flight (Canberra Youth Theatre); devised work The Grief Parlour (Clockfire Theatre, True West); LoveNOT (Sipat Lawin Ensemble, Manila); devised work Lovely Ugly (Griffin Theatre); A Fourth of Nature (ACT Department of Education’s School Spectacular, nominated for 2011 Canberra Area Theatre award); as well as short plays for NIDA Open Programme, True West and Bondi Feast Festival.
Jessica’s monologue ‘Little Love’ is published by Currency Press, and was adapted to a short film Bat Eyes (dir. Damien Power) (Top 10 finalist of YouTube Your Film competition, Venice Film Festival, Zebra Poetry Film Festival (Berlin), Tread Softly Festival (Sligo), Cockatoo Island Film Festival, Dungog Film Festival, Vimeo Staff Pick, Short of the Week).
Jessica has tutored playwriting for ATYP, Beyond the Square, and in high schools.
2016 REBEL WILSON THEATREMAKER SCHOLARSHIP RECIPIENT
Yve Blake is a playwright, musical comedian, and a spy. Not a cool one, just like an, I’m-secretly-recording-these-strangers’-conversation-on-the-bus.
Yve pretty much always co-writes her work with her audience. Specifically, this means collecting anonymous confessions from strangers around the world and turning them into everything from musical comedy to award winning plays. After winning Playwrighting Australia’s ‘Kicking Down the Door’ award in her final year of highschool, Yve made her first solo show at 18, which went on to tour to three Australian cities and across the UK. From 2012-2015 Yve lived in London, where she worked with Punchdrunk, completed the Royal court Writers Programme and presented work at the National Theatre, The Barbican, the Edinburgh Fringe and a sold out run of her second solo show THEN at the Soho theatre. It was this show that got her signed to PBJ management as a musical comedian and writer. She’s since written several plays and two more solo shows, Lie Collector – an award nominated musical comedy hour made purely out of people’s darkest secrets, and Homeslice a 100% solar powered show that tours exclusively in loungerooms and includes free hummus.
Yve applied for the Rebel Wilson Scholarship with her dream project, a thriller musical she’s been developing about Teenage Fangirls who are prepared to kill for love. She can’t wait to be spending a year at ATYP, a very special place where she spent her formative years battling acne and learning how to tell stories.
One of Australia’s most accomplished, respected and versatile performers, Simon has has enjoyed great success both in Australia and the UK in film, television, stage, concert appearances and cabaret.
Simon began his career at the age of 13 when he starred in Fred Schepisi’s seminal feature film The Devil’s Playground for which he won the AFI Award for Best Actor. Simon is currently starring in Foxtel’s highly acclaimed new drama series Devil’s Playground in which he will reprise the role of Tom Allen that he created as a boy in 1975 in the original film. He is also an executive producer of the project. Devil’s Playground was awarded both the AACTA and Logie Awards this year for Most Outstanding Telefeature or Mini-Series.
In 2007 Simon travelled to the UK to star as Captain von Trapp opposite Connie Fisher in Andrew Lloyd Webber’s production of The Sound of Music at the London Palladium. He went on to appear as Joe in When The Rain Stops Falling at the Almeida Theatre, starred as Georges opposite John Barrowman’s Albin in La Cage Aux Folles at the Playhouse Theatre, London, and in the West End premiere of Holding The Man at the Trafalgar Studios as well as reprising his role in The Sound of Music at Toronto’s Princess of Wales Theatre.
Earlier UK theatre credits include Carl-Magnus in A Little Night Music at the (Royal National Theatre, Raoul in Phantom of the Opera (Her Majesty’s Theatre), Leonardo in Leonardo – A Portrait of Love (Old Fire Station Oxford) Cliff in Cabaret (Crucible Theatre, Sheffield) Steve in Jeffrey (Greenwich Theatre) and The Life of the World to Come (Almeida Theatre)
Australian musical theatre credits include Marius in the original Australian cast of Les Miserables, Vernon in They’re Playing Our Song, Harry in Company, Billy Flynn in Chicago, Whizzer in Falsettos (nominated Best Musical Performance Sydney Theatre Critics’ Circle Awards), Dexter in High Society, Burrs in The Wild Party, George Puttnam in Take Flight and Billy Crocker in Anything Goes for which he received the Green Room Award for Best Actor in a Musical. Simon recently starred as Mr Banks in the Australian and New Zealand seasons Cameron Mackintosh’s production of Mary Poppins for Disney Theatrical and as Georges in La Cage Aux Folles opposite Todd McKenney as Albin for The Production Company.
Sydney Theatre Company productions include Mrs Warren’s Profession, The Wharf Revue 2013, Jonah Jones, The Herbal Bed, She Stoops to Conquer, Mr Kolpert and the world premiere of Up For Grabs. Simon played Mason Marzac in the Australian premiere of Take Me Out for the Melbourne Theatre Company and starred in the world premieres of October and Satango for Griffin Theatre Company. He created the role of Francis Bacon in Stephen Sewell’s acclaimed Three Furies directed by Jim Sharman for 2005 Sydney Festival, 2006 Perth and Adelaide Festivals (nominated Best Actor Sydney Theatre Awards 2006)
Simon’s countless television credits include Miss Fisher’s Murder Mysteries, Hustle, Rescue: Special Ops, The Alice, All Saints, Small Claims III, Thank God You’re Here, South Pacific, Brides of Christ, Scales of Justice, Water Rats, Danielle Steele’s The Ring, The One That Got Away, Heroes Mountain, After the Deluge, Grass Roots, Preservation and Postcard Bandit, and his 23-year stint as one of the most popular presenters on ABC TV’s Play School. In 2006 he hosted his own television variety series Studio A With Simon Burke on Australia’s FOXTEL network. Feature films include Passion, Pitch Black, and Travelling Light.
From their inauguration in 2001 until 2006, and again in 2012, Simon hosted and co-wrote the Helpmann Awards – honouring excellence in live performance in Australia.
In January 2009 Simon was thrilled to make his debut at Carnegie Hall, where he hosted and performed in a gala concert Australia Plays Broadway.
His first solo album Something About Always, which he co-produced with Musical Director Daniel Edmonds, was released in 2009.
His solo cabaret show, also titled Something About Always, had its world premiere at the Adelaide Cabaret Festival in June 2011.
Federal President of Actors Equity 2004-2014. Proud Member since 1974.
Current Vice-President FIA (International Federation of Actors)
Heather and ATYP go way back – from attending ATYP workshops herself during her school years, to being a member of the ‘Young Artist’s Programme’ in 2009 where she performed in ATYP’s productions of A Secret Place and Bustown.
Since then, Heather has been one of atyp’s regular tutors – teaching weekly ensembles, school and holiday workshops. As a tutor she loves honing the skills of performers, facilitating their connection with an audience and focuses on working together as an ensemble to tell stories.
Heather is also a performer, writer and producer. She has trained at NIDA, had the pleasure of working professionally as an actor, touring nationally with theatre-in-education groups, and writing original works for Short+Sweet, Sydney Fringe and Under the Wharf. Heather also holds a Bachelor of Creative Arts from Macquarie University.
Adriano Cappelletta is a NIDA graduate and recipient of The Marten Bequest and Mike Walsh Scholarship which enabled him to study with master clown, Philippe Gaulier in Paris for two years. As a theatre-maker he has performed work throughout Australia, Europe and New York.
With Holly Austin, he has devised and performed the hit comedy shows CUBBYHOUSE (The Public Theatre: New York, Adelaide Fringe 2010, Tamarama Rock Surfers, The Blue Room Theatre: Perth) and CONNIE CHANG’S CABARET ROADSHOW (Melbourne Comedy Festival, Sydney Comedy Festival, Sydney Opera House, Great Escape Festival.) In 2011 he established an international theatre collective, Les Freres Du Monde and premiered SHANE & EDDIE: PICKING UP THE PIECES at The Edinburgh Fringe, picking up a Best Double Act nomination in UK’s The Observer.
In 2014 devised and performed a new theatre work for families, RUBY’S WISH (Makebelive/ Belvoir) and in 2011, LITTLE BEAUTY (with Theatre of Image/ National Portrait Gallery, Canberra)
At The Ensemble Theatre he has appeared in THE GOOD DOCTOR, FACE TO FACE, PROOF (Winner: Best Supporting Actor, Sydney Arts Guide 2014), HAPPINESS, THE GINGERBREAD LADY, FOUR FLAT WHITES IN ITALY, DEATH OF A SALESMAN, THE DRAWER BOY and A VIEW FROM THE BRIDGE in which he was nominated for Best Newcomer at The Sydney Theatre Critics Awards for his role as Rodolpho. Other theatre includes GO PINOCCHIO! (Kim Carpenter’s Theatre of Image), THE MULE’S FOAL (Perth Theatre Company), DENNIS CLEVELAND: A POP OPERA (Mikel Rouse NYC/Perth International Arts Festival)
Film/TV: US feature STEALTH, ALL SAINTS and the web series LOVE BYTES. Adriano is the co-creator/writer and star of the the comedy series, ULTIMATE FANJ which was part of Freshblood on ABCiview. Adriano is the writer and star of the viral comedy sketch #newparents which currently has 80k views and counting!
Nicholas has directed and taught at AIM, ACTT and most recently at WAAPA for the world premiere of the new operatic drama MELBA composed with Johannes Luebbers (for which they won the NEW MUSICALS competition at The Hayes Theatre in 2015).
He has been the recipient of a Western Australian Equity Award (A Swell Party) and was the winner of the Sydney Cabaret Showcase Competition for 2005. He was nominated for the 2008 Sydney Theatre Critics Award for Best Cabaret for The Fabulous Frances Faye in Australia. Nicholas subsequently toured this show to New York, The Adelaide Cabaret and FEAST Festivals, Mardi Gras Festival, His Majesty’s Theatre (WA), Belvoir St for B Sharp and QPAC for their 12 Acts of Cabaret Festival.
Other writing credits include; All the Way: The Sammy Cahn Songbook for Laura Bernay (Noosa Jazz Festival, MPAC, Ellington Jazz Room), A Cabaret on the Roof for Jeremy Youett (Bar Me), Shopping Centre Santa for James Millar and Amelia Cormack (Seymour Centre) and Irving Berlin: Songs in the Key of Black for Lucy Maunder which has toured across Australia since its premiere in 2012.
Directing and writing credits include; Well Swung and Doorknockers (His Majesty’s Theatre WA and Noosa Long Weekend Festival) Jim Morrison: Kaleidoscope with Luigi Lucente (Ballarat Cabaret Festival, Hayes Theatre, Midsummer Festival and His Majesty’s Theatre WA) and VAMP: The songs of Kander and Ebb for Elise Brennan (Ruby’s Jazz Room)
Nicholas has worked as an assistant director on; LoveBites (Subiaco Theatre Centre and Seymour Centre) and on the Helpmann nominated Gutenberg! The Musical! (Adelaide Cabaret Festival, Seymour Centre and Parramatta Riverside).
Nicholas is also the co-author of the hit school production POPSTARS the ‘90s Musical! with Neil Gooding released through WWW.DAVIDSPICER.COM.AU.
Nicholas and Neil both won the Short, Sweet and Song Festival for their joint direction of Climb the Smallest Mountain in 2009.
He holds a Bachelor of Commerce (Curtin University) and Bachelor of Arts (WAAPA).
Lucy graduated from the Western Australian Academy of Performing Arts (WAAPA) in 2015 with a Bachelor of Performing Arts – Performance Making. Her degree included study in performing, devising, producing, directing and writing, and included an intensive six weeks training at the Intercultural Theatre Institute in Singapore. She currently works in Sydney with her theatre company, New Ghosts, as an independent theatre maker. Lucy’s most recent works include Fracture, which she wrote, assistant directed and produced, and The Remedy, which she co-devised and performed. Both works were produced at The Blue Room Theatre in Perth in 2015.
In 2016, Lucy has assistant directed The Voices Project: All Good Things with director Iain Sinclair, and is currently in development with a new play Mimesis which she hopes to debut in 2017. Lucy has enjoyed teaching at ATYP in 2016, sharing her knowledge of devised and performed theatre.
Rachael Coopes fell in love with performing and story-telling at six years of age when she began studying acting, voice and movement at acting schools including ATYP.
Rachael trained for 2 years with the infamous Phillipe Gaulier in Paris after receiving the Marten Bequest Scholarship and Ian Potter Foundation Cultural Trust.
Rachael’s television work includes Playschool (ABC TV), Dance Academy (ABC TV), Balls of Steel (Southern Star Entertainment), The Politically Incorrect Parenting Show (Razor Films), McLeod’s Daughters (Millennium Television), Life Support 3 Series (McDonald Eastway), All Saints (SNOL) Secret Life of Us (West St Productions), White Collar Blue (Knapman Wyld), Dog’s Head Bay (McElroy Television), Norman! Is That You? (Sit-Com Pilot)
Film work includes The Ghost (Short) (Dir: Phillip Midelton), High Maintenance (Short)(Dir: Damon O’Farrell), Billy’s Holiday (Dir: Richard Wherrett), Sirens (Dir: John Duigan), X (Written/Dir/Prod: Rachael Coopes), Pip (Metro TV), Short Changed (Metro TV).
Theatre work includes Nothing Personal (Ensemble Theatre Co, Dir: Mark Kilmurry, I’m Not Sure I’m An Adult Yet (NovemberISM Festival), The God Committee (Ensemble Theatre Co, Dir: Andrew Doyle), The Sugar House (public reading- Company B Ltd Dir: Lee Lewis), Stoning Mary (Griffin Theatre Company Dir: Lee Lewis), The Decameron (Old Fitzroy Hotel Dir: Craig Illot).
Her produced writing work includes I’m Not Sure I’m An Adult Yet (NovemberISM Festival), Save Draft in Short and Sweet Festival 2011,
Two Women as part of Grifffringe 2010 at Griffin, Art House at Washington University and at Zoo Venues Edinburgh Fringe 2009, Life Support Series 3 Comedy Sketches.
She is currently working on a writing commission through ATYP to be produced in 2013 and LOVES teaching and devising theatre with young people at ATYP, where she began her days of acting and story-telling.
Whether it’s as a Doctor in Home and Away, a WarHorse, or a T-Rex, Michael aims to communicate with a transformative clarity and physicality. His work as an Artist and Corporate Facilitator has taken him all around Australia, Europe, East Timor and Brazil. Credits include feature & short film, TV series, commercials, theatre, puppetry and children’s shows. Film and TV credits include the lead in supernatural thriller “TIMELESS”, due for release early 2015, “Tricky Business”, “Underbelly-RAZOR”, “Packed To The Rafters”, “Home and Away”, “Wrath”, “Microstories”and “Shelling Peas” to name a few. Theatre credits include Merchant of Venice, Macbeth, Taming Of The Shrew (Sport For Jove Theatre), Construction of The Human Heart, Closer, (Apocalypse Theatre), As You Like It, Romeo and Juliet, The Golden Ass, and The Young Tycoons. His production company, Hunting Season Productions, is currently in pre-production on a TV pilot, and he has a teen fiction book in the wings. Michael is excited by any medium that allows for engaging and transformative storytelling.
Harriet Devlin is a director, performer and teacher. Harriet first began training with Zen Zen Zo Physical Theatre in the Suzuki Method of Actor Training, Viewpoints and Butoh in 2005. A Zen Zen Zo Company Member since 2009 and currently based in Melbourne, Harriet co-manages Zen Zen Zo Physical Theatre’s Melbourne Training Centre and works with various arts organisations on a freelance basis including the Melbourne Women’s Circus, Kids Up Front Drama Academy and the National Institute of Youth Performing Arts (NIYPAA). In May 2013, Harriet directed a one-woman show for the Ballarat Heritage Festival entitled A Tivoli Lovelie and is in the midst of a creative development for an all-female devised production entitled Missfits. In 2012, Harriet directed, produced and managed a production of Patrick Marber’s Closer for Underground Productions at Revolt Artspace in Melbourne and the Schonnell Theatre in Brisbane. Harriet temporarily re-located to London in 2007 and was employed by Shakespeare’s Globe Theatre as a member of the Southwark Community Projects Team. While in London, Harriet also worked as a freelance director, and participated in regular workshops in actor training with Warhorse Theatreworks and The Urban Dolls Project, developing skills in Lecoq, Puppetry, Butoh, Capoeira and the Viewpoints.
Harriet’s directing credits include: Closer (Melbourne and Brisbane; Producer: Underground Productions). Fossils (2006), Romeo and Juliet (2006 and 2007), After January (2007) 48 Shades of Brown (2007) and Othello (2009) (Brisbane; Producer: Mt St Michael’s College). Harriet has also directed three youth productions for Zen Zen Zo’s In-Schools Program; Iago’s Web (2009, co-dir. with Drew Der Kinderen, Corinda SHS), Vs. Guilt (2010, Corinda SHS), and The Silenced (2010, MSM College).
Performance credits for Zen Zen Zo Physical Theatre include: The Tempest (Brisbane, 2009), Gaia (Brisbane, 2009), Zeitgeist (Edinburgh Fringe, 2009; Adelaide Fringe, 2010; Nelson Arts Festival NZ, 2010). In 2011, Harriet performed around Queensland in schools touring productions Romeo & Juliet and Hello Spaceboy! (Zen Zen Zo, QAC 2011 and 2012), as well as the mainstage production of Cabaret (Zen Zen Zo, PowerArts, QPAC).
James Evans is the Associate Director of Bell Shakespeare. He is a graduate of the National Institute of Dramatic Art (Acting) and holds an MA in English from the University of Sydney. James has worked extensively as an actor, director, lecturer and facilitator.
James is Director of The Players, Bell Shakespeare’s full-time touring ensemble, and will produce A Midsummer Night’s Dreamwith them this year. In 2014–15 James directed Macbeth and Romeo and Juliet, each playing to over 16,000 young people at the Sydney Opera House and the Arts Centre Melbourne. James co-wrote and presented the acclaimed iPad App Starting Shakespeare, which was named Best New App by Apple in 17 countries, including Australia and the US. Behind the camera, James co-directed the ABC Splash online series Shakespeare Unbound, and produced educational content for Google Australia for the 450th anniversary of Shakespeare’s birth.
As a facilitator, James has run leadership and communication workshops for organisations such as Deutsche Bank, Telstra, Australian Unity, PwC and the Melbourne Business School. James has also conducted hundreds of Student Masterclasses and Teacher Professional Learning sessions in schools, universities, theatres and juvenile detention centres across Australia. In 2012 he spoke at the Royal Shakespeare Company’s international conference in London, and last year ran a series of intensive Shakespeare workshops in Beijing. In 2016, James will be a visiting artist at the University of San Diego, as well as presenting Shakespeare seminars, alongside John Bell, in Hong Kong, Shanghai and Singapore.
Nathalie has had a passion for acting since she was five years old. Despite playing the role of ‘tree’ in her kindy school play, Nathalie has been dedicated to carving a career for herself in the arts. She studied drama on scholarship throughout high school at The McDonald College of Performing Arts and attended many ATYP workshops as a child. Her film and TV credits include ABC’s My Place, Baz Luhrmann’s Australia and Beyond Productions’ Toybox.
However, Nathalie’s passion lies in theatre, having trained with Brisbane’s Zen Zen Zo Physical Theatre Company and The Sidewalk Studio in Los Angeles. Nathalie has been a part of many fringe theatre productions including Nick Enright’s BlackRock and David Harrower’s Blackbird. She has also been part of various ATYP productions including House on Fire (directed by Jo Turner) and Desiree Din and the Red Forest (Directed by Fraser Corfield). Nathalie has performed both in Australia and overseas, performing in China’s cultural Arts festival in Tianjin.
Recently, Nathalie has found a passion for teaching, running acting workshops both in NSW and Victoria. She loves the family vibe of ATYP and is so grateful to be a part of such a fabulous community! “I was once an ATYP student, now I’m the teacher! I feel like I’ve come full circle!”
Holly Fraser has been acting professionally since she was 10 years old. She studied drama throughout high school at The McDonald College of Performing Arts, graduating in 2012, and in 2014 she was awarded a scholarship to study at the Atlantic Acting School in NYC. Theatre credits include War of the Roses (Sydney Theatre Company, 2009), Blood Wedding (Sydney Theatre Company, 2011), Spur of the Moment (ATYP, 2013) and Bock Kills Her Father (107 Projects, 2014), War Crimes (ATYP, 2015) and ATYP’s recent production of Patrice Balbina’s Chance Encounter with the End of the World (ATYP, 2016), which toured to Canada.
Some film and TV credits include My Place, Packed to the Rafters, In Your Dreams, The Last Race, Age of Consent, Kid Detectives and Santa’s Apprentice.
Holly also works behind the camera. She graduated from Sydney Film School in 2015 and has since been working for large Australian production companies and as a freelance assistant director and producer.
Holly adores the ATYP family and culture, and is so grateful for the opportunities it has opened up for her and so many other young people.
Virginia Gay graduated WAAPA in 2005, then pretended to be a nurse for four years on Channel Seven’s All Saints. Following that, she pretended to be Julia Gillard in the Sydney Theatre Company’s Wharf Revue, and has just finished shooting the fifth season of Winners & Losers, where she pretends to know a lot about high finance. This last one, particularly, is a stretch.
She played a prize bitch in Eddie Perfect’s The Beast, and every stop on the bogan-to-hipster spectrum in On The Production Of Monsters, both for the MTC. She’s been a five-year-old kid who turned out all right to gay parents in Dean Bryant’s Gaybies,a transgender-Hitler-auditionee in The Producers for The Production Company, and an emotionally stunted sewer-rat in Rommyat the Old Fitz. She played pacifist, suffragist, and feminist Vida Goldstein in The War That Changed Us for the ABC, and will just finished a sold out season at the Opera House of Cautionary Tales for Children, a one-woman cabaret for kids about an (only mildly) psychotic nanny, which she devised with Arena Theatre Company.
She has written two solo cabaret shows, Songs To Self-Destruct To and Dirty Pretty Songs, both of which sold out at the Adelaide Cabaret Festival, and which toured nationally and internationally, most notably headlining the Famous Spiegeltent at the 2012 Edinburgh Fringe.
She has made popular appearances on Adam Hills’ In Gordon Street Tonight (ABC), The First Tuesday Book Club (ABC), Good News Week (Channel 10), Studio at The Memo (Foxtel), and The Unbelievable Truth (Channel 7), and has also hosted the Channel Seven NYE Celebrations in Melbourne.
Sarah Goodes is currently an Associate Director at the Sydney Theatre Company where she has directed Orlando by Sarah Ruhl, Battle of Waterloo by Kylie Coolwell, The Effect by Lucy Prebell, Switzerland by Joanna Murray Smith, Vere by John Doyle, The Splinter by Hilary Bell, Edward Gants Amazing Feats of Loneliness by Anthony Neilson.
For Downstairs Belvoir Street Theatre, The Sweetest Thing by Verity Laughton, The Small Things by Enda Walsh, Black Milk by Vassily Sigarev, Elling by Axel Hellstius and The Italian American Reconciliation by John Patrick Shanley.
For the Old Fitzroy Theatre The Schelling Point by Ron Elisha, Vertigo and the Virginia by Sven Svenson, Hilt by Jane Bodie, What Happened Was… by Tom Noonan.
For the Darlinghurst Theatre, The Unscrupulous Murderer Hasse Karlson Reveals the Gruesome Truth about the Woman who Froze to Death on the Bridge by Henning Mankell.
For the Studio at the Sydney Opera House, The Colour of Panic by Nicholas Hope.
As an assistant director she has worked on The Present, Elling an Honour at Sydney Theatre Company and Rays Tempest at Belvoir.
Sarah did a Post Graduate Diploma in Directing at VCA. In 2015 she was the recipient of the Gloria Payton Travel Scholarship and was nominated for the Helpman Award for Best Directon for Switzerland.
SEAN LUTHER HALL
With almost twenty years in the entertainment industry, Sean’s passion as an actor, director, writer and musician has taken him on many adventures. After performing in Barrie Kosky’s controversial There is No Need To Wake Up for the Sydney Olympic Arts Festival, Sean graduated from NIDA and then spent five years in Prague, working alongside music industry heavyweights including Tool, Ozzy Osbourne, Slayer, Jaz Coleman of Killing Joke, Grammy Award winning producer Hugo Nicolson and the celebrated Prague Philharmonic Orchestra. On returning to Australia Sean has continued to seek out unique creative experiences: joining the acclaimed Pinchgut Opera productions of L’anima del Filosofo and Juditha Triumphans, working with the directing team on NIDA’s 50th anniversary production of A Midsummer Night’s Dream, and proudly representing the Australian delegation at the UNESCO theatre festival set high in the mountains of Romania. Sean has also appeared in the feature films and television series; The Illusionist, Baz Lurmann’s Australia, and The Road From Coorain. Sean recently appeared in the Spectrum Now festival production of Gluck’s Orfeo ed Euridice, the Australian Shakespeare Company’s production of Wind In The Willows and Channel 7’s Sitcom Drop Dead Weird.
Matt Hardie wrote, directed and performed in the Tropfest 2013 winning film Bamboozled. Matt was also the winner of the Best Male Actor award for his performance in the film. Bamboozled was the second of Matt’s films to be a Tropfest finalist with Let It Rain, which he also wrote, directed and starred in taking out the DSLR award the previous year.
Matt is a graduate from the acting course at the National Institute of Dramatic Art (NIDA) and also Curtin University majoring in Film & Television.
His TV/Film credits include: The Checkout (actor, ABC), Legally Brown (actor, SBS), Fresh Blood: One Connection (director, actor, ABC iView), Bamboozled (Tropfest) and Let It Rain (Tropfest).
Matt has also performed in a number of theatre productions with various companies including Sydney Theatre Co. and Belvoir Street Theatre Co.
Emily is a Sydney based actor, singer and dancer. A 2014 NIDA acting grad, Emily has worked across theatre, music, film and TV. Theatre credits include The Players, Bell Shakespeare; ‘A Midsummer Night’s Dream’ (Hermia), Bell Shakespeare; ‘BU21’ (Thalissa) Old 505, Outhouse Theatre Co; ‘Dogfght’, Hayes Theatre; ‘Sing To Me’, Apocalypse Theatre and ‘Blackbirds’ developed for the WITS Festival Fatale. Emily trained full time with Danceworld Studios in 2011 and currently teaches and performs regularly with Retrosweat, the 80ties aerobic workout. An accomplished singer, Emily also works as a backing vocalist and has sung for the EP launches of Okenyo and Mirrah Reflects. Her TV credits include season 6 ‘Wentworth’ (Mon Alston) Fremantle Media/Showcase and ‘Growing Up Gracefully’, ABC. Film credits include ‘Stem’ (Nurse Henderson) with Goalpost Pictures and web series; ‘Resting Pitch Face’ (Olivia), Google/ Grumpy Sailor Productions. In 2018 Emily will be touring with Bell Shakespeare’s new production of Julis Caesar.
Emma Jackson’s career has spanned extensively over theatre, film, and television since her graduation from the National Institute of Dramatic Art in 1999. She won the Marten Bequest travelling scholarship for acting in 2006 and relocated to New York to train with the SITI Co and intern with The Wooster Group. Emma has worked with many theatre companies in Australia and last year received widespread critical acclaim for her performance as ‘May’ in B Sharp’s FOOL FOR LOVE. Other credits include Melbourne Theatre Company’s DEAD MAN’S CELLPHONE, Griffin Theatre’s STONING MARY, and internationally; REASONABLE DOUBT in London and in Edinburgh, as part of the Edinburgh Festival, and THE BIRD, READER, WINDOWS and BED, all at the One Year Lease theatre company in New York and C4 THE CHEKOV PROJECT at the Prospect Theatre in New York. Emma’s film credits include the US feature MASK II, and Australian productions WEST, THUNDERSTRUCK, BLURRED and SWAY. Most recently Emma has been seen on the small screen in the ABC TV’s legal drama CROWNIES and will soon be seen in the controversial Screentime production of KILLING TIME. Other television credits include RESCUE: SPECIAL OPS (Season 3), ALL SAINTS, WATER RATS, THE ALICE and WHITE COLLAR BLUE. Emma has previously performed with Ensemble Theatre in David Williamson’s LET THE SUNSHINE and is thrilled to rejoin the team with his new play NOTHING PERSONAL.
Honora is a performing artist based in Wollongong and loves travelling up to atyp to lead creative play sessions for pre-schoolers in the holidays.
She currently works for Illawarra Children’s Services as a creative leader, creating and leading exciting creative dramatic and circus based play sessions and has recently returned to Circus Monoxide as a pre-school trainer for the circus & music classes.
Honora has a broad back ground in the performing arts industry including; singer songwriter, circus and cabaret performer. She has administrated Circus Monoxide from 2008 – 09), performed as an aerialist and street performer with Circus WOW since 2007, regular stage manager at The Vault Cabaret since 2006 and Theatre Education Coordinator at Merrigong Theatre Co @ IPAC from 2005-08.
Honora has run drama and circus workshops for small groups at private conferences in Sydney, Wollongong, Canberra and Byron Bay and is always involved in, or organising local community arts and arts development projects. She also works as a casual usher and box office assistant in various venues.
Born and raised in Newcastle Australia, Tim Kemp has always had a penchant for performance with extracurricular drama from as young as 12.
In 2013 he attended a Summer Course at NIDA and he decided to take on acting as a career. In 2014 he performed in Owen Wingrave by Benjamin Britten directed by Imara Savage. He studied at the Actors Centre Australia full time from 2014-2016.
After study he’s been on Murder Calls for Channel 9 and The Gruen Transfer for ABC. He is also the Business Manager and a practicing artist for The Leftovers Collective. Simultaneously, Tim joined the ATYP team in mid-2016, and has a blast working in both holiday and full-time programmes.
A professional actor, coach and teacher, Amy Kersey has been teaching drama and acting to people of all ages and experience since 1999. Amy is an expert in script analysis; she guides performers to true and effective interaction with the writing and with their scene partners. She studied improvisation teaching with Lyn Pierse and Stella Adler technique with Lynette Sheldon; in 2013 became a master teacher at the Anthony Meindl Actor Workshop (AMAW) in LA and went on to open their Sydney studio. Amy has an open-hearted, moment-to-moment approach to acting and life and is truly passionate about instilling this approach in all of her students. She creates a safe and nurturing space in which actors are able to take risks and achieve real breakthroughs.
Emily Lambert is a passionate actor and theatre maker who loves performing on both stage and screen. She completed her Bachelor of Dramatic Arts degree at Excelsia College (formerly Wesley Institute) in 2013, and has studied screen acting at The Acting Corps in Los Angeles.
Since her graduation she has worked with a number of different companies in Sydney including; Matriark Theatre Company, The Depot Theatre and Convict Footprints.
Emily loves physical theatre, puppetry and Commedia dell’Arte, which she performs and teaches to various high school students with Matriark Theatre Company.
Emily has worked as an assistant tutor for both ATYP and NIDA, working under many fantastic teachers. She now writes her own programs for ATYP as well as a number of different schools throughout Sydney to students of various ages.
Recipient of the prestigious Heath Ledger Scholarship in 2015, Matt Levett is one of Australia’s most promising young actors.
Since graduating from the Western Australian Academy of Performing Arts (WAAPA), he has appeared in many film and television productions. Most recently he featured as Jamie Norton in Channel 7s top rating drama The Secret Daughter, as Brendan Mahoney in Matchbox’s AACTA and TV Week Logie Award winning miniseries The Devil’s Playground and as Andrew Swanson in the Channel Seven series A Place to Call Home (Series 1 and 2). His other television credits include the Wolf Creek TV series, Winners & Losers, Dance Academy, Rescue Special Ops, Bed of Roses, Home & Away, Two Twisted and All Saints. Matt also played the lead role of Len Smithy in the Australian feature film Drown and will be filming the second season of The Secret Daughter for Channel 7 later this year.
Caleb Lewis is a multi-award-winning writer for the stage.
Plays include Nailed; Men, Love and the Monkeyboy; Dogfall; Death in Bowengabbie, Rust and Bone; Aleksander and the Robot Maid; Clinchfield; Tribute; The Honey Bees; Six Million Hits and Maggie Stone (published by Currency Press).
Graduating with first class honours from Flinders University, Lewis was mentored by Nick Enright (Blackrock, Lorenzo’s Oil) and Edward Albee (Who’s Afraid of Virginia Woolf?).
His plays have been shortlisted for the Western Australian Premier’s Award; the Griffin award and have won an Inscription Award, the Mitch Mathews Award and the inaugural Richard Burton Award for New Plays. Caleb’s work has been commissioned and/or produced by Bell Shakespeare; Black Swan Theatre Company (WA); State Theatre Company of South Australia and numerous companies across the country.
Games, installations and interactive entertainments include Across a Crowded Room and From the Outside Looking In; Tin Shed Camping Tours; Half an Hour Visit; and the multi-platform, If There Was A Colour Darker Than Black I’d Wear It – Winner of the 2013 Ruby Award for Innovation. Caleb is the inaugural winner of the Australian Writer’s Guild Award for Digital Narrative.
Current projects include commissions for Barking Gecko (WA); Hothouse (VIC) and Sport for Jove (NSW). He was recently named by Flinders University as a top 50 creative alumnus.
Caleb recently returned from an successfully funded Australia Council research trip to the UK to interview leading immersive and participatory theatre companies and take up a residency with digital performance pioneers, Blast Theory, exploring the many possibilities of combining theatre and gaming.
Drew toured Australia in the multiple award-winning War Horse. His Shakespeare credits include playing Fluellen in Bell Shakespeare’s award winning Henry V, for which he also composed the music, earning him his very own Sydney Theatre Award. He has played Bottom in A Midsummer Night’s Dream, Lord Amiens in As You Like It, and Peter in Romeo & Juliet (Sport for Jove), and Martius in Titus Andronicus (Cry Havoc). He was also part of the cast in the highly-acclaimed Sydney Theatre Company’s Under Milk Wood.
Drew has recently finished Playing the role of Stevie in the Ensemble Theatres highly acclaimed production of Good People and could be found tearing down the Sydney Opera House, playing ‘Terry ‘in the latest children’s Treehouse franchise,The 52 Storey Treehouse, for CDP Theatre Producers.
On television Drew has appeared in Channel 9’s Tricky Business.
He graduated from Western Australian Academy of Performing Arts (WAAPA) Acting course in 2010.
Sydney based Felicity McKay has been “flagged as an emerging artist for 2015 and it’s easy to see why” according to The Australian following her debut performance as Vanda in Venus in Fur.
Felicity studied acting at the Western Australian Academy of Performing, gradating in 2014. During her time at WAAPA prominent roles included Touchstone in As You Like It, Sonya in Speaking in Tongues, Mrs Merkins in Hour of the Wolf, Mette in Festen, Molly in Great Expectations and the Duke in Comedy of Errors.
Awarded the 2015 WA Emerging Artist Award at the Fringe World Awards for Black Swan’s production of Venus in Fur and the 2013 ‘Effie Crump’ Award for Most Improved Student at WAAPA, Felicity also received the ‘Sally Burton’ Award in 2014 for best female performance in a Shakespearean text for her interpretation of Viola in Twelfth Night.
Felicity has since worked in film, TV and theatre across Australia. This includes; Antony and Cleopatra with Sport for Jove, Julius Ceaser with Sport for Jove, Angels in America and The Caucasian Chalk Circle with Black Swan State Theatre Company,The Mars Project at The Blue Room Theatre and Lucidity at the Old Fitz and Adelaide Fringe. She is also a recent member of the JackRabbit Theatre Company. Her recent film work includes The War That Changed Us, Wolf Creek (Stan series), Home and Away (2016), Mina (2015) Crumbs and Hell and Night (2016).
In 2017 will be working with Bell Shakespeare’s national tour of The Merchant of Venice.
Danielle is currently the Director of Music for Sydney Theatrical Productions and the conductor of the Australian Youth Choir in Sydney.
Finishing her studies in London in 2004, Danielle performed in musicals and operettas around Europe, the USA and Japan. After returning to Australia, Danielle composed an electronic opera that was performed in the atyp 2011 season. Danielle is currently directing a new Australian musical written for the Mardi Gras festival, Wonderland. Her recent directing credits in Sydney include: For the Love of Men by Jerome Parisse at Slide, Polly Pocket is Not a Princess by Maxine Mellor, at the New Theatre, At Sea by Vanessa Bates, Listen by Miki Oikawa, and When Will, a short musical by Joanna Harte, at NIDA. Last year, Danielle directed Shock Nature Terrorism by Nick Parsons, for the Brand Spanking New festival in Newtown.
In 2007, Danielle worked on a Noel Coward collaboration in London at the Tristan Bates Theatre in the West End. Her AD credits include Les Miserables at the Parade Theatre, NIDA, and The Cunning Little Vixen at CarriageWorks. In 2012, Danielle will be working on Reverberate, a new electronic opera with youth for Outback Theatre for Young People.
Originally from Perth, Sam completed a Bachelor of Arts at Curtin University, majoring in Film and Television before moving to Sydney to attend the National Institute of Dramatic Art.
Since graduating, Sam’s theatre credits include the HOBO Collective’s Men Without Shadows, Toby Schmitz’s, Capture the Flag, the 2011 Just For Laughs Comedy Gala, the Rodney Seaborn Award winning play, Sprout, Australian Youth Workshop’s Shakespeare on Trial, Pantsguys’ multi-award winning production of Simon Steven’s, Punk Rock, Cathode Ray Tube’s A Steady Rain, Postnuptials for AnotherBrightIdea and the Sydney Mardi Gras Festival, Playhouse for NIDA and Stories Like These, The Removalists for The Rock Surfers, Hilt for Mirror Mirror, Music for Stories Like These and Griffin Independent, Constellations for the Darlinghurst Theatre Company, Platonov for Mophead Productions, Kill the Messenger for Belvoir St Theatre, My Zinc Bed and A History of Falling Things for Ensemble Theatre and Journey’s End for Cross Pollinate Productions. His screen credits include short films Little Love, Simpleton, Zombie Case Study, Dash and Backpack and TV series Black Comedy, Wonderland, Packed to the Rafters, Home & Away and Fast Tracks.
As a writer, his first full-length play, The Block Universe (Or So It Goes) premiered in 2016 at the Old 505 Theatre.
Sam was nominated for Sydney Theatre Awards for his performances in Punk Rock and Journey’s End and The Block Universe was nominated for Best Independent Production.
Jena Prince is a Sydney-based director and teaching-artist. She has a Bachelor of Arts (Psychology/Drama) from the University of Queensland, part of which involved a semester abroad studying acting at the University of California, Berkeley. She has experience in directing, theatre management, drama education, and both film and theatre acting.
She is currently a teaching-artist with the Australian Theatre for Young People, Sydney Theatre Company, and Imagination Theatre. Jena regularly teaches specialty workshops for DramaWorks, the NSW State Drama Festival and a number of Sydney high schools. She has taught performing arts and directed shows for primary, secondary and TAFE students in Queensland and New South Wales since 2007.
Credits with ATYP include assistant directing Luke Lloyd: Alienoid (2014) and Fight With All Your Might The Zombies Of Tonight (2016).
Natalie studied at The Method Studio in London in 2002 and Jacques Lecoq International School of Theatre in Paris, 2005.
She performs and directs independent theatre in Sydney, and produces and performs in her annual production of Midnight Theatre, based on the concept of Le Theatre du Grand-Guignol (the French Theatre of Horror). Natalie writes and performs in short films and is currently writing a feature film.
Natalie loves being a tutor for the Australian Theatre for Young People, and also has her own children’s drama group at Bondi, Action Atelier.
Olivia Rose graduated from Theatre Nepean and debuted in the ABC tele-movie The Silence directed by Cate Shortland.
Most recently Olivia has been seen in the ABC TV comedy series Soul Mates. Other TV appearances include playing Amy Winehouse in Ben Elton’s sketch comedy Live From Planet Earth, Packed to the Rafters, Foxtel’s Dangerous, ABC TV’s Hiding.
Olivia has worked on the award-winning films My Sister and I directed by Paola Morabito and Dead Europe directed by Tony Krawitz.
Her stage credits include The Turquoise Elephant for Griffin Theatre Company, Arms and the Man for the Sydney Theatre Company, Gaybies for Darlinghurst Theatre Company, Jack of Hearts for Ensemble Theatre, HAKAWATI at the 2017 Sydney Festival directed by Wayne Harrison and the new Australian play Dropped, produced by The Goods Theatre Company where she is also Artistic Director.
Scott is a graduate from the Western Australian Academy of Performing Arts. Theatre credits include: Bell Shakespeare; Hamlet, Actors At Work. Sport For Jove Theatre Co; The Importance of Being Ernest, Love’s Labour’s Lost, Cyrano de Bergerac, Much Ado About Nothing, Othello, The Comedy of Errors, Twelfth Night, The Tempest. Melbourne Theatre Company/Daniel Sparrow Productions/World Stages International Festival; Rupert, Black Swan State Theatre Company; The Importance of Being Ernest, Arcadia, When the Rain Stops Falling, A Midsummer Night’s Dream. Griffin Theatre Co: The Witches. Barking Gecko Theatre Co: In a Dark Dark Wood, Trains of Thought Critical Stages; Stones in his Pockets. Darlinghurst Theatre; Drake the Amazing. Film and TV: Peter Allen: Not the Boy Next Door, Careless Love, AE:2 Gallipoli Submarine, Short Film: Undeadicated (writer), Unwanted Friend (co-writer), The Beehive. Scott is a proud member of Equity.
Alec Snow in 2012 graduate of Queensland Univesity of Technology (QUT).
Alec’s first role upon graduating was performing the role of Tim in Holding The Man at La Boite Theatre in 2013. However he is perhaps best known for his portrayal of the character Matt Page on Channel 7’s Home and Away. He has also just played Woodnut in the Australian premiere of The Nether at the Seymour Centre.
After completing a degree at Macquarie University and kicking off a career in radio, Eloise went on to become a proud 2011 graduate of Actors Centre Australia and was the recipient of the Juli Batten scholarship for her third year of studies. In 2013 she worked with Anthony Skuse on 4000 Miles at atyp Under the Wharf; produced by MopHead Productions, which she is proud to say she is a founding member of. She received a Sydney Theatre Award nomination for her role in this. The show was picked up by La Boite Theatre Company in Brisbane and programmed as part of their 2014 season. In 2014 she hit the road with Bell Shakespeare as one of their Players and had the privilege of playing Lady Macbeth in James Evans’ production of Macbeth at the Sydney Opera House and the Melbourne Arts Centre. After returning home she jumped straight into the role of Mariya in Platonov, which was directed and adapted by Anthony Skuse and also produced by MopHead. Other work includes: Shabbat Dinner by Jessica Bellamy and also directed by Anthony Skuse; Singled Out at the Seymour Centre; The Blue Angel Hotel by Katie Pollock and directed by Aarne Neeme; Poetry In Action – 8 month tour with writers and directors Matt Edgerton, Jo Turner, Chris Stollery, Michael Cullen, Hazem Shammas and Bryce Youngman; Wild in the Heart with Rodney Fisher and for ABC radio; Stories from the Wayside directed by Dean Carey; Oh the Humanity & Other Good Intentions with pantsguys. Eloise is stoked with 2015 thus far. Playing Caroline in The House of Ramon Iglesia, another MopHead production, at The Old Fitz Theatre has been a real treat. She is currently a 2015 Artist in Residence at Rock Surfers Theatre Company and has been involved in the development of many current and future projects. Eloise will next be seen at The Old Fitz Theatre later this year and 4000 Miles will hit the road in 2016 on a national tour.
Ildiko Susany is an actor and playwright. In 2015, she was awarded a Marten Bequest Travelling Scholarship to train at the Atlantic Acting School (NYC), The Second City (Chicago) and Bramon Garcia Braun (LA). Ildiko’s theatre credits include: A Man With Five Children (Darlinghurst Theatre Company), Henry V (Bell Shakespeare Company), The Players (Bell Shakespeare Company), Asylum (Apocalypse Theatre Company) and A View From Moving Widows (Riverside Theatres). Ildiko’s online credits include: Fragments of Friday (Endemol Productions) and Shakespeare: Unbound (Bell Shakespeare/ABC Splash). Ildiko’s playwriting credits include The Day the Galaxy Inevitably Exploded and Died which was shortlisted in Queensland Theatre Company’s Young Playwright’s Program. She produced and performed in this play for Backbone Youth Arts’ 2high Festival (2009) and the Sydney Fringe Festival (2012) where it was nominated for the Best of Theatre Award. Ildiko has also worked in various short films, commercials and voice overs.
As a teacher and workshop facilitator, Ildiko has worked with Bell Shakespeare Company, La Boite Theatre Company, Griffin Theatre Company, Viva Voices, ACE Education (South Korea), House of Welcome, The Romero Centre, University of Southern Queensland and Mt St Michael’s College. Ildiko graduated with distinction from a Bachelor of Theatre Arts – Acting degree from the University of Southern Queensland.
She is a core member and social media manager of the Women in Theatre & Screen (WITS) and a committee member of the Equity Diversity Committee. Ildiko is a proud member of MEAA.
Jessica Tovey has been working in Australian film, television and theatre for the past decade. Her film credits include a support lead role in the French/Australian co-production of Adoration (Adore), starring Robyn Wright-Penn and Naomi Watts, a support role in feature film Tracks, starring Mia Wasikowska and Adam Driver produced by Oscar award winner Emile Sherman and a lead role in Australian feature Lemon Tree Passage.
Jessica’s break into professional acting came at age 17 with a guest role in Wicked Science. Soon after she landed a role on the popular television series Home and Away. This role spanned 4 years and saw her nominated for two Logie awards. The first in 2007 for ‘Most Popular New Talent’ and 2010 for ‘Most popular Actress in a Television Series.
Jessica’s other television credits include the lead roles in the telemovie Panic at Rock Island, the telemovie Wicked Love and the TV series Underbelly: Golden Mile.
She has had guest roles in TV series’ Rescue Special Ops, Cops LAC and in Mr and Mrs Murder. Jessica had a support lead role in the critically acclaimed telemovie Paper Giants: The Birth of Cleo. This same role earned her a nomination for the 2011 IF ‘Out of the Box’ Award.
Jessica has recently wrapped filming on the third season of the TV series Wonderland and is currently hosting Movie Juice.
She has appeared in several short films including Census, Wanderlust Reception and Smile For Me. In 2012 she appeared in the Q Theatre’s Production of Truckstop, which had a return season at the Seymour Centre in Sydney.
Jessica began her acting training from the age of 8 at the Australian Theatre For Young People. There she was involved in numerous courses and productions in both acting and musical theatre. She attended Newtown High School of the Performing Arts and while there, performed in numerous stage productions. While at school, she was also a member of the NSW State Drama Company; a selective program for students throughout the state. With this company she performed in productions at The Riverside Theatre, The Seymour Centre, Zenith Theatre and PACT Theatre. She graduated in 2005, coming 3rd in NSW for Drama, with her HSC ‘Group’ performance being selected for Onstage.
Laura Turner has performed at CarriageWorks, Griffin, PACT, Q Theatre, Shopfront Theatre For Young People, atyp and Venue505. She was a part of the Impact Ensemble at PACT Theatre, and the Young Artists Program at atyp, and is co-founder of children’s theatre company, Little Lightbox Productions.
Laura also tutors at Q Theatre, McDonald College, and atyp, where she tutors ensembles, school and holiday workshops. She is currently learning Auslan (Australian Sign Language), and hopes to work as an interpreter and create work alongside deaf artists.
Originally from the Blue Mountains, Laura is working to create art for and with children, alongside pursuit of her own artistic adventures. She has appeared in and made various short films and is currently studying Film and Time Based Art at COFA.
Kate is a 2008 graduate of the BA Music Theatre course from the Western Australian Academy of Performing Arts (WAAPA). During her time at the academy she played such roles as Linda in Blood Brothers, The Young Wife in Hello Again and featured in Sweeney Todd, West Side Story and Oklahoma! Since graduating, Kate has developed a versatile career as both a performer and writer. She moved to London and played the role of Clio in OwlFarm Theatre Company’s adaptation of La Dispute, which played at the Soho Theatre and Edinburgh Fringe Festival (2009). She also began writing a weekly article for aussietheatre.com, which she turned into a one-woman show upon returning to Sydney. Coffee with Kate: the Cabaret premiered at the inaugural Sydney Fringe Festival (2010) and enjoyed a successful return season at Slide Lounge in 2012. Kate is not only a regular columnist for aussietheatre.com, but is currently co-writing two new musicals and works throughout Sydney with young emerging artists to devise new work. She has been a music theatre tutor and writing facilitator for many performing arts companies and is delighted to be joining the atyp community.
Clemence is a director for theatre and opera as well as a sound designer and composer.
In 2016 Clemence directed Unfinished Works by Thomas De Angelis at the Seymour Centre, The Cherry Orchard with the New Theatre and a reading of KIN for the Sydney Theatre Company’s Patrick White Playwright Award. She also directed a new work, Transience, at the Sydney Fringe, and a reading of GR8Skin for the Festival Fetale. To complete a packed 2016, she assisted/observed with Sydney Chamber Opera and Opera Australia respectively as well as directing a site-specific opera, The Chamber Pot Opera, in the Level Two bathrooms of the Queen Victoria Building.
Clemence has recently completed a Master of Fine Arts (directing) at the National Institute of Dramatic Art (NIDA) and in 2014 completed Bachelor of Music at the Sydney Conservatorium, majoring in classical voice. Throughout her study she directed/wrote/composed for over thirty productions including directing Bertolt Brecht’s The Threepenny Opera at PACT. In 2013, she also worked as director of Verge, Australia’s largest student-run arts festival. In 2014, she collaborated with Ben Sheen to stage Martin Crimp’s Attempts On Her Life. She also directed Eugene Ionesco’s The Chairs for the Sydney Fringe Festival.
This year Clemence directed a music video, Strange Wasteland, for Zerrin Craig-Adams and assistant directed La Calisto directed by Elsie Edgerton-Till at the Sydney Conservatorium. She also sound designed Ben Sheen’s development of Lemons Lemons Lemons Lemons Lemons, Carissa Licciardello’s production of The Chapel Perilous at the New Theatre and Wind in the Underground by Sam O’Sullivan as part of the New Fitz program. She has just returned from a sell out tour of The Chamber Pot Opera at the Edinburgh Fringe and will be composing/sound designing for A View from the Bridge and Paper Doll at the Old Fitz. Clemence looks forward to debuting with the Sydney Theatre Company as a sound designer and composer on Lethal Indifference in 2018.
Sorie has been with ATYP since 2002 attending many workshops in the process & eventually making the shift to assisting in the holiday workshops allowing him to observe fellow ATYP tutors in their element further adding to his inspiration for all things theatre.
As well as undergoing several courses at the Actors College of Theatre and Television; Sorie has worked onstage in several productions ranging from the Sydney Festival at the Sydney Opera House to the Adelaide Fringe Festival and has also worked on screen appearing in All Saints and the short film Secrets of Seduction. As well as performing onstage & onscreen Sorie has worked behind the scenes as a stage manager for several productions at ATYP and for the NSW State Public Schools Arts Unit. Sorie is keen to help share his skills and to help inspire kids to reach their potential.
Guillaume Barriere trained with several acting schools in Paris: the School of Acting François Florent and the School of Acting Radka Riaskova. After years of theatre, television and voice-over work, he began a focus on clowning, commedia dell’arte, Jacques Lecoq’s pedagogy of theatre training and improvisation. Guillaume developed a series of improvisations with director Françoise Merle (who has worked alongside Ariane Mnouchkine from Theatre du Soleil). That collaboration led to a long running One Man Show in Paris. He has also worked with Mario Gonzalez, head professor at France’s “Le Conservatoire Supérieur d’Art Dramatique” on a performance called “The Clowns”.
Guillaume’s experience also includes work as a corporate events host in Europe and around the world through a long running association with ‘Lever de Rideau’, a big event management company based in Paris. He held several training courses in France and Belgium on ‘The Art of Comedy’ before coming to Australia in 2002 where he began teaching French and drama and working as an actor/trainer with The Maura Fay Group, facilitating presentation skills workshops. Guillaume performs as an actor and runs Clown Theatre and Commedia dell’arte workshops in Sydney for adults and children. He also runs workshops for the Australian Theatre for Young People.
In 2011, Guillaume studied in San Francisco under Paoli Lacy at the Clown Conservatory and the in Melbourne with Giovanni Fusetti, a master in the art of Clowning and in Sydney with the great Commedia dell’arte master Antonio Fava. He is currently completing a degree in Theatre Studies at the University of New England.
ANA MARIA BELO
Ana Maria graduated from NIDA in 1998. She then went on to carve a very eclectic career for herself in the industry. Starting with Musical theatre she toured Australia starring in hit musicals such as FAME and HAIR. She was nominated for a Green Room Award for her portrayal of Jeanie in HAIR in 2003. Other theatre credits include Sarah in The Listmaker for Bell Shakespeare Company; Noises Off for Ensemble Theatre Company playing Booke/Vicki; Connie in Dr Akars Women for Griffin Theatre Company; Fantail in Company B’s production of Snugglepot & Cuddlepie and Annelle in the acclaimed Australian tour of Steel Magnolias. Ana Maria returned to NIDA to perform in Angust Wilkinson’s Graduating Director’s piece, In a Pink Tutu. She has just finished Space Symphony at the Sydney Opera House.
Television credits include All Saints, Home & Away, White Collar Blue and in the UK According to Bex and Life Begins. Ana Maria has appeared in the feature films A Cold Summer and The Book of Revelation. She won the Tropfest WOMEN IN FILM away for her short film Things To Do, which she wrote, produced, co-directed and starred in. This short film has been wonderfully received both here and overseas. Her latest short film Magic Words has just picked up the People’s choice award at The Projects film festival in Sydney.
In the late 1980s, Justin was educated by some of Australia’s leading theatre teachers at the Actors Centre Sydney, and was invited to become Richard Hayes-Marshall’s apprentice teacher in beginner’s acrobatics and stage stunts in 1990. In 1991-92 Justin became a full time actor with Hayes-Marshall’s company MOMENTUM-INTANDUM based in Glebe Sydney, he co-created original works for both adults and children, and performed at the Reginald Theatre, The Seymour Centre in 1991. In 1996, Justin completed the 2 year Jacques Lecoq theatre school as well as two stages of the L.E.M [94-95] and [98-99] and was commissioned to stage an outdoor public performance, based on themes from King 2 Lear, at Place St Marthe, Paris in 1999.
In 2001 Justin moved to Porto and co-directed for ESPIRAL THEATRE, touring regional Portugal with an ensemble of 15 international artists playing in over 20 shows, and opened at the Crystal Palace Gardens Porto, for the European Capital of Culture Porto 2001. The show GIANTS & BIGHEADS toured the Azures islands, the Coin Street Festival London, and opened for the Brouhaha International Festival Liverpool, UK. Justin has taught acrobatics, art, movement and mask to people of all ages in Australia, the UK and Portugal, and currently teaches physical drama at the Australian Theatre for Young People Sydney. He is also an alumni of the Sydney College of the Arts [2003-09] MVA. And has exhibited sculpture for Sculpture by the Sea [2003 & 2005] and at P.I.C.A for “Hatched” . Justin has presented Live/art at Carriageworks for Performance Space, [the “Night Time” series], and has played at The Red Rattler Theatre, for the Sydney fringe 2010, The Zenith Theatre Chatswood, The Newtown Theatre, and the Old 505 Theatre for the Sydney Fringe 2012. As a director, Justin has staged three productions for the Short+Sweet Theatre Festival Sydney including, The Sandbox by Edward Albee. Justin continues to write and present original contemporary fairytales about the adventures of a character called WouldMan!
Mitchell has worked extensively for the STC, MTC, QTC, STCSA, Belvoir, Ensemble, Malthouse, The Production Company, Bell Shakespeare and Opera Australia. Highlights include The Government Inspector, Angels in America, Strange Interlude, Six Degrees of Separation, The Café Latte Kid, Tartuffe, Mourning Becomes Electra, A View from the Bridge, Othello, Boeing Boeing and Face to Face.
Music theatre credits include South Pacific, Avenue Q, The Mikado, Follies, Little Shop of Horrors, Man of La Mancha, Urinetown, Oklahoma, Tomfoolery, Dusty, Little Me, Assassins, Kismet, The Producers and A Funny Thing Happened on the Way to the Forum opposite Geoffrey Rush. Film/TV credits include Hiding, The Broken Shore, Mr & Mrs Murder, Bordertown, Wildside, Grass Roots, Rake, Holding the Man, The Bank, Two Hands, Dark City and AFI-nominated performances in Strange Fits of Passion and Gettin’ Square.
Mitchell received Helpmann Awards for The Venetian Twins, Avenue Q and The Mikado and Green Room Awards for Hair and Piaf. Mitchell has appeared in three solo cabaret shows, Mitchell Butel’s Excellent Adventure, And Now for the Weather and Killing Time for the Adelaide, Brisbane, Noosa and Summersalt Cabaret Festivals and Hayes Theatre (an which is available on CD or iTunes) and he is also the voice of the Playschool theme song.
Tom graduated from NIDA in 2002 and also trained at Mountview in the UK.
His stage credits include Hamlet (Belvoir), The View Upstairs (Hayes Theatre), Clybourne Park and The Violet Hour (Ensemble Theatre), The Merchant of Venice (Bell Shakespeare), Bed (STC), Anatomy: Titus (QTC/Bell Shakespeare), Misterman (Edinburgh Fringe/Siren), The Trouble With Harry, Penelope, Richard 3, Twelfth Night and Human Resources (Siren Theatre Company), Three Sisters (Sport for Jove), Sleepwalk (RADA), the UK premiere of Violet (Mountview), Ruben Guthrie, The New Black and Theatre Ashes at Latitude (Ironbark), Little Women: The Musical (Lost Theatre), PVT Wars (Old Fitz), Tiny Remarkable Bramble (KXT), Nerd Formal (Stables), Vampirella, The Illusion (Sydney Theatre Award Nomination), and Cloud 9 (Darlinghurst Theatre), Women of Troy and The Eight: Reindeer Monologues (Downstairs Belvoir), Debris (RideOn) and 2000 Feet Away for (B Sharp).
His screen credits include Downton Abbey, Party Tricks, All Saints, Second Best, My Place, Deck Dogz, Love My Way and the Academy Award nominated short film, The Saviour. He has won two Sydney Theatre Awards for his work in Misterman and Three Sisters.
KATE CHAMPION – THE DEVISING PROCESS
ATYP is thrilled to have Kate Champion onboard in 2017 to conduct a two day workshop that explores various approaches to creating devised theatre. Using her long history working in this field both as a performer and director, Kate will guide each participant through a series of task-based exercises leading towards the development of a practical and imaginative performance language.
Performers/creators/directors of all persuasions are encouraged to apply.
Champion and her team have given them an opportunity to shine in this provocative, unpredictable and inspiring new work.
Champion has brought her broad experience across the arts to this production. It is evident that the frailties of characters have evolved through research, discussion and experimentation, guided throughout by Champion’s hallmarks of tempo, spatial tension and control.
Briallen graduated from NIDA with a Bachelor of Dramatic Art (Acting) in 2010. Theatre credits include: A Strategic Plan (Griffin Theatre); Hay Fever (Sydney Theatre Company); Dreamsong (Melbourne Arts Centre); The Lunch Hour (Siren Theatre Co/Darlinghurst Theatre Company); Pork Stiletto (Old Fitzroy Theatre); Hollywood Ending (Griffin Theatre Company); All My Sons and The Young Tycoons (Darlinghurst Theatre Company); and Clybourne Park (Ensemble Theatre). Briallen also co-produced 2014’s highly acclaimed production of Stop Kiss (ATYP/Unlikely Productions). Briallen was a founding member of the online sketch comedy group ‘I’m With Stupid’ which was invited to be part of ABC’s Freshblood project in 2014, developing young comedic talent in Australia. Briallen’s background is in education and she is passionate about giving young people the opportunity to explore their creative potential through unique learning experiences. Briallen is thrilled to be joining the team at ATYP these autumn holidays.
ADAM COOK – DRAMA SCHOOL AUDITION INTENSIVE
Adam is a graduate of the NIDA Directors Course. He has directed over 120 productions across Australia, London, Canada and the United States. He was Artistic Director of the State Theatre Company of South Australia for the years 2005-2012, the longest tenure in the company’s 40-year history. He is currently Head of Acting at Actors Centre Australia.
He has created works for the Sydney, Adelaide, Melbourne and Brisbane Festivals, Melbourne Theatre Company, Sydney Theatre Company, Belvoir, Ensemble, Sydney Opera House Trust, NIDA, Queensland Performing Arts Centre, La Boite, Q Theatre, Florida Grand Opera, Opera de Montreal, Sydney Gay and Lesbian Mardi Gras, Opera Australia, Griffin, Bell Shakespeare, Sport for Jove, OzOpera, Playbox, Festival of the Dreaming, WAAPA, QUT, Marian Street, Strange Duck, Windmill Performing Arts, Edinburgh Fringe Festival, City of London Festival, the Barbican International Theatre Event (BITE).
Recent directing credits include Much Ado About Nothing and A Doll’s House for Sport for Jove, The Motherf*cker with the Hat for Workhorse Theatre, Freud’s Last Session [Theatre Royal, Sydney and QPAC, Brisbane], Daylight Saving for Darlinghurst Theatre Company and A Steady Rain and Kayak at the Old Fitz.
Fraser is the Artistic Director of ATYP. He has been the Artistic Director of Backbone Youth Arts (Qld, 2005-2008) and Riverland Youth Theatre (SA, 2001-2003) and the Associate Director of La Boite Theatre (1997-2000), Queensland’s second largest professional theatre company.
As an Artistic Director Fraser has been a passionate advocate for new work, commissioning and producing over twenty new plays and productions. Highlights include Australia’s first major opera composed for young people, Dirty Apple (Backbone Youth Arts/Opera Queensland/Queensland Music Festival) the new Australian musical Paradise (Backbone Youth Arts, published by Playlab Press) and AWGIE award winning I Said a Word by Stephen House (Riverland Youth Theatre). He has directed over thirty productions for professional, independent and youth theatre companies around Australia. For ATYP he has directed The Laramie Project, Rio Saki and Other Falling Debris, Desiree Din and the Red Forest, Ishmael and the Return of the Dugongs, and The Tender Age.
Fraser has sat on advisory bodies at all levels of the industry including as a peer assessor for Arts Queensland (2009 -), the Theatre Board of the Australia Council for the Arts (2008–2011), Company Associate of Queensland Theatre Company (2006–2008), a board member for Young People in the Arts Australia (2007–2009), Chair of the selection committee for the Youth Arts Mentoring Program (YAMP) (2006–2008), a board member of Metro Arts (2005–2008) and part of the selection panel for Queensland’s theatre industry awards. He was one of seven Australians selected for the ‘Next Generation’ international collaboration which ran from the 2008 to the 2011 ASSITEJ World Congress and Performing Arts Festivals.
Fraser has been ATYP Artistic Director since February, 2009.
Originally from Perth, Patrick completed a bachelor of Arts at Curtin University majoring in Theatre and Journalism. In 2011 he moved to Sydney to study in the fulltime acting course at The Actors Centre Australia. At ACA Patrick was fortunate to play Julius Caesar in Julius Caesar directed by George Ogilvie AM, Borkin in Checkov’s Ivanov and Bernie in Sexual Perversity in Chicago directed by Adam Cook. Since graduating Patrick’s theatre credits include Low Level Panic (Old Fitzroy Theatre), Journeys End (ATYP/Cross Pollinate), Bully Boy (Blood Moon Theatre) Between Us: The Voices Project (ATYP) One Flew Over The Cuckoos Nest (Sport for Jove) and Brittania Waives The Rules as part of Sydney Fringe. His film credits include the 2011 feature Wasted on the Young (Paramount/WMBC) and shorts – Noah (Checkovs Gun) and Orgy (Nauta Productions).
For television Patricks credits include Winter (Channel 7), Doctor Doctor (Channel 9) and The Other Guy (Stan) which will be on screens later in 2017.
Outside of acting Patrick is a passionate educator working as a first aid trainer with All Aid First Aid at a wide verity of schools around Sydney. He runs a small production company called Ginger Snap productions mainly shooting self tests for actors and spends his limited downtime playing music, video games and watching cricket. Patrick is a proud equity member and is thrilled to be teaching at ATYP.
Ivan graduated from NIDA in 2007. Since graduating Ivan has performed in ‘The Age Of Consent’ (Old Fitz), ‘Cherry Smoke’ (Old Fitz), ‘Strange Attractor’ (Griffin Theatre), ‘Bang’ (White Box/B Sharp), ‘The Berry Man’ (Hothouse Theatre), ‘Macbeth’ (Bell Shakespeare), ‘Blood Wedding’ (Malthouse Theatre Company), ‘Othello’ (Sport for Jove), ‘Belongings’ (White Box/Wagga Civic Theatre), ‘Machinal’ (Sydney Theatre Company), ‘Macbeth’ (Sydney Theatre Company), ‘A Christmas Carol’ (Belvoir St Theatre), ‘Hamlet’ (Bell Shakespeare), ‘The Blind Giant is Dancing’ (Belvoir St Theatre), ‘Hurt’ (505 Eliza St), and ‘Broken’ (Darlinghurst Theatre Company).
Ivan was also part of Bell Shakespeare’s inaugural ‘The Players’ ensemble and also counts as teaching and facilitating drama programs as a passion of his, having taught for NIDA, ATYP, Bell Shakespeare, and Actors Centre. Ivan won the 2017 Sydney Theatre Award for Best Actor in his performance as Eddie Carbone from A View From the Bridge.
Most recently Drew performed with Societas Raffeaello Sanzio in Jack and The Beanstalk for the Adelaide Festival 2015. Dinosaur Zoo by Erth. Version 1.0 in The Major Minor Party. As a writer and director drew has worked with Terripin Puppet Theatre Company- Pip and Pooch, My God I’ve been Kidnapped and I Hate What I’m Wearing- the musical.
For Television–The Kangaroo Gang- King of Thieves for the BBC and UKTV. For film Anne Fontain’s Australian/French feature film- Adore. Mat Govoni’s –The Misfortune of Others.
With Actress/comedian Kate Smith drew has written and performed in Bangers and Mash, The No Chance in Hell Hotel and The Unspeakable Itch- the first two of which toured extensively through Australia, The UK, The US and Hong Kong.
… “a massive THANK YOU to Curly and atyp for a wonderful two days! Curly was amazing, so engaging and related fabulously to the kids.”
This is the feedback that Curly often generates from participants and teachers in his workshops. He spans the divide between professional theatre practitioner and student with ease and creates an environment in which creative risks are encouraged and supported.
Curly is a WAAPA graduate of Theatre, and Swinburne University of Technology graduate of Performance Making. In theatre he has worked with La Mama, Grin & Tonic, Gasworks and Brisbane Powerhouse. In TV he has worked for Screentime, Grundy’s, Southern Star, and ABC. In film, Astronaut, 2011.
Teaching Credits include: DramaRama!, the Sydney Opera House, atyp, Deptartment of Education and Communities, Sydney Region Aboriginal Education, and various primary and secondary schools in NSW and Victoria.
Curly runs holiday workshops at atyp, and Education workshops in:
Get Your GP On (devising)
Monologues, Dialogues and Mincing Your Words
Body and Voice
The much celebrated Kate Gaul will be introducing you to one of her passions, the work of Caryl Churchill. Kate Gaul really has done it all, an award winning director, started her own theatre company and been a Festival Director. Approaching Churchill promises to be a very rewarding course for any actor. Enjoy discovering how economical Churchill can be with her writing, learn how her work has evolved and get under the skin of one of modern theatre’s great playwrights.
Freelance Theatre Director/Designer. NIDA 1996 (Directing Course), Anne Bogart SITI Company 2005. Associate Director Ensemble Theatre 2004/5. Festival Director World Interplay 2009/11. Festival Director Short+Sweet Theatre Canberra 2013/2014/2015, Cabaret Sydney 2014. Kate’s directing credits include plays, opera, physical theatre, devised works and classics. She is Artistic Director of Siren Theatre Co where her passion is for text based drama, she challenges artists and audiences. In 2016, Siren Theatre Co tours Enda Walsh’s”Misterman” to Hobart and Darwin Festival and produce Noelle Janaszweska’s “Good With Maps” for a season at the new Kings Cross theatre.
Kate’s play “Fat Boy” has been performed as part of Bondi Feast and then a second production as part of the May Day plays 2013. Kat has aso written and directed two short fims “Embrace” and “Cake”… Kate is also an accomplished designer/maker. www.sirentheatreco.com
Helpmann award winning actor Darren Gilshenan is celebrated for his comedic work both on stage and screen and brings over 25 years of experience. Darren’s diversity as an artist is his strength and has allowed him an extensive body of work. After graduating from The National Institute of Dramatic Art (NIDA) in ’88 he began his career in Musicals before spending 10 years with The Bell Shakespeare. Sketch comedy followed with 3 years on Full Frontal followed by some great TV series; Dossa and Joe (BBC/Granada), AFI Nominated Chandon Pictures and Logie nominated Derrick which he wrote and starred in. Darren returned to the theatre for 7 productions with the Sydney Theatre Company and then to the small screen again; Moody Christmas and The Moodys, as Uncle Terry, Top of the Lake created by Jane Campion and Gerard Lee, The Elegant Gentleman’s Guide to Knife Fighting, Rake 3, Janet King, The Killing Field directed Samantha Lang for Network 7, Old School, Devils Playground and Maximum Choppage for the ABC. Film credits include; Save Your legs, The Outlaw Michael Howe, the AACTA nominated Liebermans in the Sky and the yet to be released, Women He’s Undressed, the Orry-Kelly story, directed by Gillian Armstrong. Recent theatre includes Absent Friends by Alan Ayckbourn at the Ensemble Theatre, Arthur in Mother and Son alongside Noelene Brown and Piggsy in a festival version of Monkey – Journey to the West.
He has won a Best Actor Helpmann Award for The Servant of Two Masters and been nominated for Green Room, Sydney Critics and Glugg Awards.
A NIDA graduate, Anthony won a Sydney Theatre Award for his performance as Rochester in The Libertine (Sport For Jove/Darlinghurst Theatre) and has also been nominated for his performances in Inner Voices (Old Fitz Theatre), Of Mice and Men and A Doll’s House (Sport For Jove).
Other theatre credits include Calamity Jane (Hayes Theatre Co.), Death Of A Salesman (Ensemble Theatre), The Glass Menagerie (State Theatre Company of South Australia), Replay (Griffin Theatre Company), The Lost Echo (Sydney Theatre Company) Good Works, All My Sons (Eternity Playhouse), Angels In America (Riverside Theatre), One Flew Over The Cuckoo’s Nest, The Crucible, Twelfth Night, Othello, The Comedy Of Errors (Sport For Jove), The Shadow Box (Old Fitz Theatre), Empire: Terror On The High Seas, Rope (TRS), Three Sisters, Julius Caesar (Cry Havoc) S-27, Orestes 2.0 (Griffin Independent).
As director, Orphans (Old Fitz Theatre), Gruesome Playground Injuries (Kings Collective).
Television credits include Australia: The Story Of Us, Miseducation, Underbelly, Packed To the Rafters, Tough Nuts, Satisfaction and Home And Away.
Anthony was a selected participant in The Larry Moss Masterclass in 2012/2013.
Tim Hansen is a composer, songwriter, theatre maker and music educator, and is currently composer in residence at Santa Sabina College in Strathfield, Sydney. He is a co-founding director of New York-based music collectives W4 and exhAust Australian New Music ensemble, and a shortlist of ensembles he has composed for include Synergy Percussion, the Song Company, the Brooklyn String Orchestra, Contemporaneous, JACK quartet, Cadillac Moon Ensemble, and TRANSIT.
Residency credits include the Bang on a Can Summer Institute, Norfolk Contemporary Music Festival, Avaloch Farm New Music Institute, and twice artist-in-residence at Hill End, NSW. He is currently workshopping an original musical in collaboration with New Musicals Australia at the Hayes Theatre, and later in 2017 he will undertake a three month residency at the Red Rattler in Marrickville.
Tim has created two online lessons for TED on music, is part of Musica Viva’s ‘Musician in the Classroom’ program, and has been a featured speaker for both the Vivid festival and the Late Night Library series at Customs House at Circular Quay. He has created several online learning series for US-based music education website Soundfly, and worked extensively with youth arts organisations including Australian Theatre for Young People, Canberra Youth Theatre and Shopfront Youth Theatre.
Emma is a graduate from Actors Centre Australia, and has studied at The Atlantic Acting School in New York.
THEATRE: Rausch (NIDA), Asylum (Apocalypse Theatre Company), Orfeo ed Euridice in the Art Gallery of NSW for Spectrum Now, The School for Scandal (New Theatre), Unend (Never Never Theatre Company), The Wonderful World of Dissocia (The Kings Collective), Sportsplay (NIDA), A Midsummer Night’s Dream (Sydney Theatre Company), Taking Steps (Ensemble Theatre).
SHORT FILMS: Ladylike, Toe-sucker.
Emma has recently finished a national schools tour as one of the 2017 Bell Shakespeare Players. She is a proud Equity member.
Amy Hume is a Voice Teacher at the National Institute of Dramatic Art (NIDA) and the Creative Director of award-winning business, Viva Voice. Her teaching is grounded in extensive training with world-renowned voice teacher Kristin Linklater, and also draws on the work of Cicely Berry, Patsy Rodenburgh, Barbara Houseman, and other leading voice practitioners.
Amy was one of the Voice / Dialect Coaches at Matilda the Musical in Sydney. Most recently, she was Dialect Coach for Critical Stages’ national tour of Stones in his Pockets, Red Line’s Look Back in Anger at the Old Fitz, and on Sam O’Sullivan’s new Australian play, The Block Universe (Or So It Goes) at Old 505. Amy has also coached productions for NIDA, Sport for Jove, Shakespeare & Co (Lenox, MA), The Shakespeare Forum (New York) and Columbia Stages (New York). Amy provides ongoing voice and dialect support to companies including The HUB Studio and ATYP.
Through Viva Voice, Amy regularly facilitates corporate voice and communication training for staff from organisations including Commonwealth Bank, Channel Ten, NSW Department of Health and The University of Sydney.
Amy is one of only seven Designated Linklater Teachers in Australia. She also holds a Post-Graduate Diploma in Voice from VCA with First Class Honours. She is consistently named one of the Top 5 Teachers of Speech, Voice and Communication by AMEB (NSW).
Robert is an Actor, Drama Coach and Mentor and is currently a director and the Workshops Manager at The Australian Theatre for Young People.
Rob graduated from NIDA in 2003. As an actor his theatre credits include Tartuffe and Macbeth (Bell Shakespeare Company), Cyrano de Bergerac, Much Ado About Nothing (Sport for Jove Theatre Co.) Alienation (Perth Theatre Company) Death in Bowengabi (Merrigong Theatre Co), Hitler’s Daughter (Monkey baa Theatre Co), Richard III (Siren Theatre Co), Mademoiselle Fifi (Jo Turner and Company/Darlinghurst Theatre Co), The Merchant Of Venice (Downstairs Belvoir), The Illusion (MAKEbeLIVE Productions/Darlinghurst Theatre Co), Cloud 9 (Relaxed and Comfortable Group/Darlighurst Theatre Co), The Internationalist (The Practical Theatre Co).
His film credits include Little Monsters, Australia and Wolverine. Television credits include Rescue Special Ops, City Homicide, All Saints, Scorched and Home and Away.
Rob has directed Fight With all Your Might The Zombies of Tonight written by Matthew Whittet and Girls Like That written by Evan Placey both for ATYP.
He produced the short film Julian for Year of the Rabbit Films which won numerous international awards including the Crystal Bear for best short film at the Berlinale and the AACTA award for best short film in 2009.
He has taught for many of the countries elite drama schools and created specialised drama programs and courses at such institutions as The Australian Theatre for Young People, Actor’s Center Australia and NIDA Open Program. Robert creates a safe and positive environment for students to learn whilst still making sure they take risks and are challenged within the course.
A graduate of the VCA, Sophie is an actor, director and theatre-maker who has had the good fortune to have tutored at ATYP since 2008.
Sophie is currently part of the ATYP Artists in Schools program where she has been the resident artist at Mowbray Primary School since 2011. Last year, Sophie was also fortunate to run workshops across NSW as part of ATYP’s Regional Education program in remote locations including Cobar, Nyngan, Warren, Musswellbrook, Scone and Wagga.
Sophie teaches across the spectrum of ages and is particularly passionate about introducing young people to the joys of Shakespeare, classical Greek theatre and Brecht. Originally from Melbourne, Sophie has also taught at St Martins Youth Theatre, the Australian Youth Performing Arts Academy and the Page to Stage Youth Literature Program for the State Library of Victoria.
As an actor, Sophie’s theatre credits include: After All This (Elbow Room; 2011 Melbourne Fringe Festival Award for Best Performance); Tattoo (Griffin Independent); Motortown (Griffin Independent) Titus; The Ultimate Murder Ballad Musical (Darlinghurst Theatre), Hamlet and Measure for Measure (Complete Works Theatre Company). Sophie was a recipient of the 2002 Pratt Foundation Award and over the last 4 years, she has been touring her critically acclaimed solo-show Miriam and the Monkfish, which she also co-wrote and produced (The Old Fitz, Melbourne Comedy Festival, Melbourne Fringe Festival) and which is also currently in development as a television series.
Luke Kerridge is an award winning theatre director. His most recent work, Bambert’s Book of Lost Stories, won a Helpmann Award for Best Presentation for Children and was nominated for Best New Australian Work (2016). It will tour nationally and internationally in 2017, including to the prestigious Edinburgh International Children’s Festival. Dream Home by Emilie Collyer, a work Luke directed in 2015, was nominated for 7 Green Room Awards including Best Production and Direction (Independent Theatre). Luke won the award for Direction.
Luke’s other directing credits include: The Exact Dimensions of Hell (MTC Cybec Electric), Fitter. Faster. Better. (Tour Director, St Martins Youth Arts Centre – Junction Arts Festival 2015, Darwin Festival 2016), The Wonderful World of Dissocia (VCA), Eurydice (Red Stitch Actors Theatre), Group Show (MKA/SpeakEasy), Orlando (VCA) and Tell it Like it Isn’t (atyp).
Luke has worked as a teaching artist for Sydney Theatre Company, Monkey Baa Theatre Company, Malthouse, The Victorian College of the Arts and Shopfront Contemporary Arts Centre, where he was an Associate Artist. He is currently the Artistic Associate at St Martins Youth Arts Centre.
Luke completed a Post-Graduate Diploma in Directing at the Victorian College of the Arts in 2012 where he was the recipient of Grace Marion Wilson Trust and the Jim Marks Postgraduate Scholarship. Luke is part of the New Working Group, a network of independent theatre artists based in Melbourne.
Dani is a graduate of RADA and has worked in the UK, Europe and the USA before moving to Sydney in 2010 where she has worked for Bell Shakespeare Co, Sydney Theatre Company, Sport For Jove, ATYP, MKA and Darlinghurst Theatre Co.
Her teaching experience includes being part of the STC’s School Drama program for the last three years, Blue Mountains Drama, and Sport For Jove workshops both within schools and within the productions, as they run concurrently, both as a workshop facilitator and an actor.
Dani worked at Stage By Stage Academy in Exeter, a performing arts school for children aged between 4 and 20 offering practical and progressive training. She is the co-founder of So To Speak UK, a company of teachers working in association with LAMDA teaching Speech and Drama to groups and individuals of various ages.
She has also taught workshops for The Almedia, The Young Vic, York Theatre Royal and Sailsbury Playhouse as well as working for the London Shakespeare Workout in prisons and detention centres in the UK.
Her first professional job was an international tour of The Almedia’s Richard II and Coriolanus where she was able to watch the company of actors including Ralph Fiennes, Linus Roach and Oliver Ford Davis every night.
Most recently she was part the Australian tour of the critically acclaimed Henry V with Bell Shakespeare Company. She has also performed for Sport For Jove in Hamlet, Twelfth Night, The Tempest, Macbeth and The Taming of the Shrew, for which she was nominated at the Sydney Theatre Awards for Best Actress and The Libertine, for which she won the award.
Film and TV include: Felony, Home and Away, The Gathering Storm (HBO), Holby City, Bad Girls and Ultimate Force
Alex graduated from AFTRS in 2009, where he directed short film Aware and composed music for additional productions. Two of these—Herman and Marjorie and Wild Imaginings—screened in competition internationally.
He worked for media/communications company Crisis Ready before studying at the University of Sydney; his two-year tenure as AV Director of the Sydney University Arts Revue saw him produce and direct over twenty video sketches and online promotional shorts.
In 2016, Alexander completed his Masters in Writing For Performance at NIDA; he continues to work across film, theatre and television.
ABBIE LEE LEWIS
Abbie-lee Lewis grew up in rural Western Australia. In 2008 she graduated from the Aboriginal theatre course at WAAPA.
In 2009 she worked with Yirra Yakkin Theatre Company touring Talk it up by David Milroy. In 2010 she was accepted into the Acting course at the Western Australian Academy of Performing Arts.
Since Moving to Sydney Abbie has worked with Bell Shakespeare, touring with their Educational program, the players. The players gave Abbie a chance to really hone her classical acting as well as work with directors like James Evens, Janine Watsons and Scott Witt. Whist working on the educational Main stage production of A Midsummer Night’s Dream with Bell Shakespeare Abbie had the opportunity to play Puck. It was here her love for physical theatre really grew. She returned in 2017 to perform in the educational main stage Macbeth.
Abbie continues to discover this passion for physicality and storytelling through different avenues. Whilst she is not acting Abbie is training in Brazilian jiu jitsu and teaching contemporary aboriginal dancing.
The Artistic Director of Griffin Theatre Company, Lee Lewis, joins us to offer a unique opportunity to work on pieces that reflect our cultural narrative. An expert on bringing the Australian voice to life on stage, Lee will push talented young actors to find truth and vulnerability in their performance. This will be an invaluable opportunity for participants to expand their knowledge of the Australian cannon.
DOWNLOAD APPLICATION FORM HERE
Lee Lewis is the Artistic Director of Griffin Theatre Company, Australia’s new writing theatre. One of country’s leading directors, her productions have included 8 Gigabytes of Hardcore Pornography, Silent Disco, Emerald City, The Bull the Moon and the Coronet of Stars, A Hoax, The Call, and The Nightwatchman for Griffin, Twelfth Night and The School for Wives for Bell Shakespeare, Honour, ZEBRA!, and Love Lies Bleeding for Sydney Theatre Company, This Heaven and That Face for Belvoir, Battlegrounds and Citizenship for ATYP, and over twenty independent productions. Her recent work includes Kate Mulvany’s Masquerade for Griffin and the State Theatre Company of South Australia which had its world premiere at Sydney Festival in the Sydney Opera House , the national tour of Highway of Lost Hearts for Darwin Festival, and The Serpent’s Table at Sydney Festival 2014. She holds an MFA from Columbia University and an MFA from NIDA. Currency House published her book Cross-Racial Casting: Changing the Face of Australian Theatre as part of their Platform Paper series.
Alex graduated from the Acting course at The Western Australian Academy of Performing Arts in 2014. Since graduating WAAPA, Alex has appeared on Seven Network/Foxtel’s A Place To Call Home and in the Opera Orfeo ed Euridice for Spectrum Now Festival. Alex’s WAAPA credits include The Golden Age, Great Expectations, Festen, Comedy of Errors and As You Like It. Alex is also appearing in Spring Awakening at ATYP later this month. Alex is passionate about giving young people the opportunity to explore their creative potential through unique learning experiences, and is looking forward to teaching these April school holidays.
Jennifer Medway is currently the Resident Dramaturg at ATYP. Prior to this she was a Griffin Studio Artist 2014, Co-Artistic Director of the Crack Theatre Festival in 2013 and Associate Artist-Dramaturgy at Belvoir in 2012. Jennifer has worked as a dramaturg on shows such as: Jump for Jordan (Griffin), By the Sea Freedom (Festival of Dangerous Ideas/Applespiel), How it is or As you like it ( Ashfield Council/9th Women Playwrights International Conference), Blood Pressure (Rock Surfers), Jumping the Shark Fantastic (Campbelltown Arts Centre), Animal/People (Rock Surfers),Between Us (ATYP), Between theClouds (Hothouse/ATYP) and The Trolleys (ATYP).
Ruby graduated from QUT’s acclaimed acting program in 2014. Prior to studying, Ruby was involved in numerous short films and television commercials from an early age. Her credits at QUT included Irina in Three Sisters, Casca /Varo in Julius Caesar, Mrs Stamper/ Kay in Splendor in the Grass, various roles in Mnemonic and Fay in A Chorus of Disapproval.
Since graduating, Ruby has performed with Echelon Productions for two consecutive years touring What’s the Matter- Science Week and STEMANIA- Science Week. In 2017 she made her debut performance at ATYP in Declan Green’s MOTH, directed by Rachel Chant.
Her screen credits include GPTV’s Cleverman and the Music Video for The Dead Dasies Song and a Prayer. Ruby is about to film a leading role in the TV pilot Hoods.
Grace Partridge is an award-winning producer and curator, working in the research, creation and facilitation of art and culture across a multiplicity of fields.
As the Founder and Artistic Director of Antidote—a platform at the intersection of art and social change—Grace strives to bring together the best creative minds in conversation through artist features and curated programs. Each story is brought to life through a series of exhibition, both in pop-up spaces and major visual art institutions alike. In theatre, Grace works as a drama tutor, interdisciplinary artist and dramaturge, with particular interest in where performance meets social practice and community engagement, and the CACD/Applied Theatre field.
In music, she works as a singing teacher, vocal coach and as a performer specialising in jazz, contemporary and choral performance. She has worked with The Sydney Opera House, Milk Crate Theatre Company, ARTAND Foundation, The House that Dan Built, ShopFront Arts Co-op LTD and PYT. She is the Executive Producer of Arts & Culture at FBi Radio and the most recent recipient of the 2018 NSW/ACT Young Achiever of the Year Award for Art+Fashion.
Grace studied at the Interlochen Centre for the Arts in Michigan and the London Academy of Music and Dramatic Arts (LAMDA). She has completed two degrees (BA and BMus) at UNSW.
Emma has worked in film, theatre and television since she graduated from NIDA in 2004. Born in Sydney, she has worked as a Costume and Set designer, maker, costume supervisor and buyer.
Previously she has worked as Costume and Set Designer for Compass (2013) and Maxy Remy Super Spy (2012) at ATYP; Costume Designer for Belong by Bangarra Dance Theatre (2011); The Chronic Ills of Robert Zimmerman (AKA Bob Dylan) for Tamarama Rock Surfers; and as Costume Supervisor for Bangarra Dance Theatre shows Of Earth and Sky (2010), Fire (2009), True Stories (2007), Clan (2007) and as an assistant on Mathinna (2008).
She lived and worked in London for several years, where she was a costumier at Cosprop, which produced costumes for films such as Pirates of the Caribbean, Atonement and Pride and Prejudice.
Emma has also worked as a costume maker for Melbourne Theatre Company, Circus Oz, Eucalyptus, the Sydney Festival, Opera Australia, Hi-5, All Saints and The Colony, as well as many independent productions.
Emma is also a floral designer and is currently learning the skill of being a mother to her new baby girl.
Matilda trained at the Ensemble Studios, Atlantic Theatre Company, SITI Company and at L’Ecole Philippe Gaulier in Paris. The original production of Jasper Jones marked Matilda’s Belvoir debut. For Bell Shakespeare, she has performed in Hamlet, Henry4 and Romeo and Juliet. Her other theatre credits include The Crucible, A Midsummer Night’s Dream, A Doll’s House and Much Ado About Nothing (Sport For Jove); Proof, Seminar, My Wonderful Day, Rain Man,Brooklyn Boy, Ruby Sunrise (Ensemble Theatre); The Bitter Tears Of Petra Von Kant, Kayak and COCK (The Old Fitzroy Theatre); Platonov (Australian Theatre for Young People); and Sprout (Tamarama Rock Surfers). Her film credits include Tomorrow and tomorrow and tomorrow, The Guests (CannesPalme d’Or Nominee), 1919, The Dead Leaves, 2010, The Gaslight Treatment, The Opposite of Solitude, Streamer and Army of One. Her television credits include ABC’s Hiding, Gifted and Criminal Investigation. Matilda is a proud member of Actors Equity and WITS.
DAMIEN RYAN – SHAKESPEARE
Multi award winning director Damien Ryan (Artistic Director of Sport for Jove theatre) is at the forefront of directing Shakespeare in Australia. From Romeo and Juliet to Titus Andronicus, Damien is a master of finding a truth and relevance that connects classic texts to modern audiences. Sharing Damien’s passion for these plays, you can gain an insight into interpreting, performing and staging the Bard’s work with theatricality and clarity.
Damien Ryan is Managing Artistic Director of Sport for Jove Theatre. In 2014 he directed The Crucible, wrote and directed Cyrano de Bergerac, and directed All’s Well That Ends Well and Twelfth Night for SFJ, along with Bell Shakespeare’s national tour of Henry V. He also performed in NORA for Belvoir, directed by Anne-Louise Sarks.
Previous directing credits: for SFJ include Hamlet, Macbeth, The Taming of the Shrew, As You Like It, Romeo and Juliet, A Midsummer Night’s Dream and The Libertine by Stephen Jeffreys (with Terry Karabelas); and for Bell Shakespeare, co-directing Henry 4 with John Bell, Romeo and Juliet over three seasons, and the Actors at Work program. He founded the Sydney Hills Shakespeare in the Park and The Leura Shakespeare Festival. He will direct Hamlet for Bell Shakespeare’s national tour in 2015.
He has acted and directed many plays across Australia, celebrating over 20 years in the industry. Recent acting credits include Othello for SFJ, directed by Matt Edgerton, Hamlet directed by David Ritchie, and As You Like It directed by John Bell. He has also worked heavily in the Australian education sector, and bringing Shakespeare and theatre to young audiences is his life’s ambition.
Awards: Sydney Theatre Awards for Best Supporting Actor in Independent Production for Iago in Othello; Best Independent Production for All’s Well That Ends Well; Best Director and Best Mainstage Production Henry V; Best Director and Best Production for Cyrano de Bergerac; Best Production for The Libertine; and nominations for Best Director for The Libertine, Hamlet and The Taming of the Shrew.
Rachel Small is an experienced children’s performer, theatre maker and facilitator. Through her company Scribblygum Arts, Rachel creates quality engaging and interactive arts experiences for early years audiences, with a focus on environmental engagement. These performances have been staged at Lost Paradise Festival, Darwin Festival, Darwin Fringe, and through the City of Darwin Libraries.
Most recently, Rachel was performing as a Captain Starlight with the Starlight Children’s Foundation in Sydney and the Northern Territory, facilitating drama and literacy workshops in primary schools through the Sydney Theatre Company, and producing projects with award winning arts and social change organisation Big hART.
Anthony Skuse is a director, dramaturge and teacher. His directing credits include Constellations (Darlinghurst Theatre), Anthony Neilson’s Realism (WAAPA); Diana Son’s Stop Kiss (Unlikely Productions); Bite Me – The Voices Project, Australian Theatre for Young People; Simon Stephen’s On the shore of the wide world (Griffin Independent) Amy Hertzog’s 4000 Miles (Under the Wharf, Sydney & La Boite, Brisbane) which received two Sydney Theatre Award nominations for 2013; Simon Stephen’s Punk Rock (Under the Wharf) which received three Sydney Theatre Awards for Best Independent Production, Best Direction and Best Actor in a Supporting Role.
Henry Purcell’s Dioclesian (Pinchgut Opera); Letts’ Bug,Jose Rivera’s References to Salvador Dali Make Me Hot, Marius Von Mayenburg’s The Cold Child, Michael Gow’s Live Acts On Stage (Griffin Independent Sydney); Robert Faquar’s Bad Jazz, Mark Ravenhill’s pool (no water) The Presnyakov Brothers’ Terrorism (Darlinghurst Theatre Sydney); Janis Balodis’ Too Young For Ghosts, Tony Kushner’s Bright Room Called Day (NIDA); The Greek Project: Aischylos, Euripides and Sophocles: a special project at ATYP, for twenty women, aged nine to sixty-nine.
Anthony teaches at Actors Centre Australia, as well as at Sydney’s College of Fine Arts and NIDA, where he was an Associate Lecturer for Performance Practices and taught Repertoire with Playwrights from 2009 to 2012.
Chris is a Graduate of Actors Centre Australia’s full time acting program (2009) and has worked in the industry as an actor and teacher for ten years.
Chris is a founding member of Sport For Jove Theatre Company and has performed in over 25 productions with the company as well as playing an integral part in building SFJ’s education program. This work has taken him to dozens of schools, universities and training institutions around Sydney working on Shakespeare, group devised performances, monologues, acting for the stage, introduction to drama, improvisation and stage craft. In 2011 Chris created Acting After Hours, and after school drama program in a number of high schools around Sydney.
Chris has also helped build the Second Age Project over the last four years, directing a group of young people in a Shakespearean performance that plays along-side professional productions each summer.
ATYP is Chris’ second home. He arrived aged 13, got food poisoning, vomited and hasn’t left since. Before he got too old to do so he acted in 8 ATYP shows and participated in dozens of classes. Since 1997 Chris has conducted ATYP workshops, devised and written shows and directed plays there including Chatroom, Romeo & Juliet and Click.
A graduate of WAAPA and winner of Sydney Uni Theatresports, Chris studied with Phillip Gaulier and Pantheatre on an ATYP/Lend Lease Scholarship.Other places he has directed, devised shows and conducted workshops for include, Bell Shakespeare, Company B, Sport for Jove, The Actor’s Centre, AIMDA, Shopfront, Camp Quality and Powerhouse Youth Theatre. His areas of focus include acting technique, Shakespeare, improvisation, devising, Brecht, and voice.
As an actor Chris has performed with Sport for Jove, Bell Shakespeare, STC, Ensemble Theatre, Pinchgut Opera, Frogbattleship, Focus Theatre, Tamarama Rock Surfers and his play The Orphan’s Orchard was published by Cambridge University Press.
Jo studied at Melbourne University with Barrie Kosky, Michael Kantor and Tom Wright. He then trained at the physical theatre school Ecole Jacques Lecoq in Paris. He works as an actor, a director, a writer and a dramaturg, but his first love is devising new work. In particular work with loads of visual content. Here’s a list of some of the things he has done recently.
New Creations as Director:
Prison Songs (Darwin Festival); Ruby’s Wish (Belvoir and MAKEbeLIVE); The Grief Parlour (Riverside and Clockfire); Fools Island (STC); The Jinglists (TRS and Critical Stages tour); Cubbyhouse (TRS and MAKEbeLIVE); Darlingwood Tales (Sydney Opera House); The No Chance in Hell Hotel (Darlinghurst and Critical Stages tour); Mademoiselle Fifi (Darlinghurst); Bookends 2007/8 (ATYP and Sydney Writers Festival) Don’t Stare too Much! (Darlinghurst and Critical Stages).
New Creations as Actor/Devisor:
Railway Wonderland (NORPA); The Return (NORPA); The Window (Arts Asia Pacific/Mark Bromilow national and international tour); Dead on the Ground (Hoipolloi and Pleasance, Edinburgh); Brainstorm (InTransit Theater, Bern).
Traditional Plays as Director:
Avenue Q (Enmore Theatre); Deathtrap (Eternity Playhouse); Macbeth Undone (Bell Shakespeare AAW); Who’s Afraid of the Working Class (AIM Dramatic Arts);The Graduate (Kay and McLean); Peter and the Wolf (Sydney Opera House); My First Time (Kay and McLean, Opera House); Stolen (Workshop – STC Ed); Waiting for Godot (Associate Director – Kay and McLean/Theatre Royal Haymarket); House on Fire (ATYP); Crossfire (Ashfield Youth Theatre); Vanity Fair (ACTT); Puntila and His Man Matti (ATYP),
Traditional Plays as Actor: The Incredible Book Eating Boy (CDP and Opera House); The Ugly One (Griffin); Ruby Moon, Thyestes, Howard Katz (STC); The 39 Steps (Kay and McLean); Weather, Somewhere (Q Theatre); Faustus (B Sharp); Closer (Street Theatre); Snugglepot and Cuddlepie (Bareboards); The Imaginary Invalid (Ensemble); Emma’s Nose (La Boite); The Language of One (Australian Theatre of the Deaf); Plainsong (Black Swan);The Caucasian Chalk Circle (Belvoir Street); Le Bus Theatre des Deux Rives.
Television: CAMP, Dr Blake’s Murder Mysteries, Home & Away, All Saints, White Collar Blue, Backberner. Feature Film: Truth, You Can’t Stop the Murders. Shorts: Fear, The Making of the Darlings, A Knight’s Tale, Awake, The Agreement.
Plays as Writer: In a Heart Beat (Playlab 2014), Max Remy – In Search of the Time and Space Machine (ATYP), Ishmael and the Return of the Dugongs (ATYP and Riverside).
Other work as Writer: Helpmann Awards 2013.
Jo has also devised many new works with students at The Actors Centre, AIM Dramatic Arts, ACTT and is a regular guest lecturer at NIDA including directing their Graduate Showcase in 2014.
Grant from Ian Potter Cultural Foundation to study at the Ecole Jacques Lecoq.
Helpmann Award “Best touring production” The 39 Steps
Jo was an artist in residence at the STC in 2012 (writer/director).
Amy Usherwood is a 2007 NIDA acting graduate. She began performing at the of 7, competing in singing competitions and performing in stage plays. When she was 17 she won the Best Director, Most Promising Actress and Most Outstanding Production awards at the Sheila Winn Shakespeare Festival in Wellington; for a performance of an extract from Othello. This gained her the opportunity to travel to London’s Globe Theatre & Stratford-Upon-Avon to do workshops and a performance on the Globe Theatre stage. Amy’s theatre credits include Juliet in Romeo and Juliet (NIDA, Gale Edwards), Thieves Like us (Wollongong Theatre Company), Hermione in The Winter’s Tale (Wellington), Sweet Phoebe (Auckland), Ache (Circa Theatre, Wellington), Henry V (Pop-Up Globe), Taming of the Shrew and Away (Sport For Jove, Sydney.) She has also toured high schools across Australia performing with Shakespeare On Trial. Her screen credits include the role of Amber in Southern Star’s Out of the Blue, Emma Franklin in Shortland Street (20012-2014), Louise Hillary in TVNZ’s upcoming Hillary and Helpdesk in feature film Eternity, for which she was nominated for a Best Supporting Actress award at the 2013 New Zealand Film Awards. Amy is a proud member of MEAA.
Ella is an actor, theatre maker and drama tutor who has worked across Australia. She trained at the Victorian College of the Arts, graduating in 2005 with a Bachelor of Dramatic Arts in Acting.
Her performance credits include work for Queensland Theatre Company, Teatre Satu, Darwin Theatre Company, JUTE, Melbourne Fringe Festival, La Mama, Darwin Festival, ArtBackNT, Optic Nerve Performance Group, as well as work in film, TV, voice overs and the corporate sector.
As a teacher and workshop facilitator Ella has worked with children and young adults at ATYP, Corrugated Iron Youth Arts, Bali SODA, Queensland Theatre Company, and run in-school workshops for primary and senior students. Ella enjoys helping young people discover connections with an imaginative world and nurturing their sense of play and self-expression through performance.
Ella has a particular interested in the development of new theatre works in a collaborative context and in the physical exploration of text.
A graduate of Theatre Nepean (University of Western Sydney) & Macquarie University, Kate is an actor, teaching-artist and English as a Second Language teacher. As a founding ensemble member of Clockfire Theatre Company, Kate has devised and performed in Lei Hideaway (Best Theatre Show, Sydney Fringe 2012) and The Grief Parlour and is currently developing we, the lost company which will premiere at The Old 505 Theatre in October 2015. Kate is also an associate artist with Powerhouse Youth Theatre where she co-directed In This Fairfield: Romeo & Juliet In The West with David Williams and currently runs PILOTS, a workshop and leadership program for young people in the Fairfield region. Kate is also currently working for Bell Shakespeare on Shakespeare’s Women at Auburn Girls High School.
Kate’s theatre credits include The Glass Menagerie at Darwin Entertainment Centre (Brown’s Mart), the USA tour of Hitler’s Daughter (Monkey Baa), the premiere of Hilary Bell’s The Splinter (Sydney Theatre Company), The Violent Outburst that Drew Me To You, As You Like It (Siren Theatre Co.), The Stallion of Death, A Day In The Death of Joe Egg, The Unscrupulous Murderer and Don’t Stare Too Much (Darlinghurst Theatre Co.) and Thursday’s Child (Monkey Baa).
For screen Kate recently played the role of Ms Pearson in Subject to Change, a TV pilot exploring the lives of same-sex attracted teenagers. She has also performed in a number of award-winning short films including Cockatoo, Mama Always Told Him, Wendy vs. Helvetica and Y2GAY for which she was awarded Best Female Actor at Tropfest 2011. Kate is a proud member of the MEAA.
Rosie Fisher, Georgia Adamson and Anna Young in ATYP’s All Stops Out, 1993.
Photo: Tracey Schramm (c)
Georgia Adamson as actor at ATYP:
Twelfth Night, 14 Aug, 1992
All Stops Out, 30 Jul, 1993
A Midsummer Night’s Dream, 28 Nov, 1993
Hypothalamania, 23 Nov, 1994 (Hot Young Things: Festival of Young People’s Theatre)
The Hour We Knew Nothing of Each Other, 1 Jan, 1995.
Georgia was a co-winner of the 1999 Lend Lease 2000 Scholarship (ATYP and Lend Lease in partnership to provide opportunities for ATYP participants to take advantage of an international arts exchange program.)
I joined ATYP when I was 15. I was already deeply passionate about theatre and the prospect of being an actor – ATYP gave me a place to start working out what that meant. I had a magnificent time touring plays, developing friendships that still thrive today and throwing myself into the many wonderful and unique opportunities that ATYP had to offer.
I was a recipient of the 2000 Lend Lease Scholarship which had a huge impact on my life; the training I undertook at Shakespeare & Company in Massachusetts was exceptional and is still one of my best resources.
I am currently a Resident Artist at Sydney Theatre Company, teaching on their School Drama program. I’ve been working on the program since its pilot in 2009 and have taken immense pleasure in taking the things I know as an actor into primary school classrooms and teaching teachers how to enrich their literacy work. I am also a founding member of Katoomba Theatre Company – we are currently in discussions about a new theatre space in Katoomba and look forward to staging our first work in early 2013.
One of the best things I have seen on stage was The Three Lives of Lucie Cabrol by Theatre de Complicite`. It came to Sydney about 15 years ago and still burns brightly in my mind. And August: Osage County, by Steppenwolf, was exceptional theatre.
My advice to young people who want to take on the theatre world? Take advice. Not from everyone; but pick a few people whose work you admire, who are not too nutty and who are happy to take the time to chat to you, and pick their brains. You know when theatre is for you, but advice from someone who’s been doing it for a while can be the thing that galvanises a hunch that you might have about travel, or writing or whatever it is that might enrich your journey. Take pleasure in what you do and try not to torture yourself. Listen to your instinct but not to all of your doubts. Watch and read and play as much as you possibly can.
Georgia’s theatre credits include Actor on a Box for the Sydney Theatre Company; Wars of the Roses, A Midsummer Night’s Dream, The Tempest, Actors At Work and I Own the Racecourse, for the Bell Shakespeare Company; and Diving For Pearls for the Ensemble Theatre Company.
Georgia’s television credits include guest roles in a number of Australian television series including Rescue Special Ops, All Saints, Gangs of Oz, McLeod’s Daughters, A Country Practice and Echo Point.
Georgia’s film credits include the feature Footy Legends, and the short, Catch.
Sebastian graduated from Enmore Design Centre with an Advanced Diploma of Interior Design and also recently completed a BDes in Visual Communication (First Class Hons) from University of Technology Sydney. During his studies he freelanced for various companies and individuals, and used the last shred of his spare time to start a magazine, Dandy, which has been nominated multiple awards, including a Human Rights award for its contribution to the LGBTI community, and the Pedestrian Blogster awards in Design/Technology.
A finalist in the 2013 Create design awards, and the 2012 Tony B Wilson Typography awards, and recipient of the Adobe sponsorship award in 2012 for outstanding work in the field of Design, Sebastian approaches the creative process from underneath, combining a strong sense of personal style with a side order of individual philosophy and pop culture.
Sebastian was the Marketing Co-ordinator at ATYP from June 2013 to July 2014.
Sarah Becker in ATYP’s What the Umbrella Did Next, 2003, photo: Phil Sheather.
I started ATYP as a teenager with afters chool classes and just loved it! Finding a place to imagine, to discover texts and learn about acting was amazing at that time. I then auditioned for What the Umbrella Did Next and that play really helped me understand what it meant to create a character and carry a sense of ensemble through your work. ATYP gave me confidence and a sense of belonging, it also nurtured and encouraged me to continue down the path of being an actor.
I’m working behind-the-scenes now, with another great arts organisation called the Australian Youth Orchestra, helping young classical musicians.
The best thing you have ever seen on stage? Actor, Mark Rylance, at the Globe Theatre.
My advice to young people who want to take on the theatre world? Don’t be afraid to have a point of view. Know what it is you stand for and this will give you courage!
Sarah first started ATYP acting courses in the 1990s and continued on throughout her teenage years, auditioning successfully for What the Umbrella Did Next, and then she was hooked!
She won an Australia Council Young and Emerging Artist Grant in 2002 to write and produce theatre, and went on to train at the Drama Centre, London. Over in London, Sarah appeared in several European productions, including Swine, at the National Theatre London, Rudin and The Fox for the Arcola Theatre, London, Greenwich for Goldsmith’s, London and Le Jeudis at the Pompidou Centre, Paris, for which she won the Audience Award for Most Outstanding Performance.
Australian credits include A Bright Room Called Day (NIDA) Arabian Night and Dealing with Claire (Griffin Stablemates) and The Call (Griffin Theatre).
Television includes EAST WEST 101.
Sarah now works in arts management as Marketing and Communications Manager for another great youth organisation – the Australian Youth Orchestra.
The cast of ATYP’s There (part of doubl-bill From Here to There), 26 Mar, 2002.
Tel Benjamin in ATYP productions:
There, 26 Mar, 2002 (part of double-bill From Here to There)
Out / Side / In, 3 Apr, 2004 (double-bill)
“I spent 7 years training in ATYP’s incredible workshops that not only gave me confidence as a young actor but as a young person.
In 1998, I was 8 years old, and my mum could see I was very much drawn to being a performer. I had decided from that age that I was going to be an actor so my mum and aunty pooled their funds to send me to what is regarded as the very best in training for young performers. I attended many different ATYP workshops at the Rocks, including general acting techniques, camera work and circus skills.
In 2002, I auditioned for the ATYP group-devised work, From Here to There, directed by Brendon McDonall. That was a fantastic learning experience, as I was just 12 years old, and placed in the older group working with actors in their late teens.
The next year I auditioned for another double-bill called Out / Side / In, directed by Sarah Goodes. Another amazing experience that really grounded within me that I couldn’t bear to do anything else with the rest of my life.
I continued my training after 2004 within my high schools: Sydney Secondary College, Leichhardt, and Sydney Secondary College, Blackwattle Bay. During 2010-11, I went about attending some of the NIDA Open Programs: NIDA ‘Acting Techniques One’, NIDA ‘Acting Ensemble Extended’, NIDA ‘The Actor’.
At the end of 2011, I auditioned for full-time training at Actors Centre Australia, NIDA and WAAPA, and am 8 months into an amazing life-changing training experience at ACA.
I can honestly attribute a lot of my successes and passion to the training I received at ATYP from some amazingly nurturing tutors. To have that kind of support at an early age got me through some very tough times and allowed me to focus on my craft unapologetically.”
Timothy Wilson (then GM ATYP), Kristin Williamson (then Chair ATYP Board of Directors) and Antoinette Blaxland (Sampson) (then AD ATYP), at the opening of ATYP Studio 1, The Wharf, and Lend Lease 2000 Awards’ announcement, 7 Feb, 1996.
Antoinette Blaxland (now Sampson) was ATYP Artistic Director from 1992-1996, and then Acting Artistic Director from 1998-1999.
ATYP productions and events directed by Antoinette Blaxland:
Mad Forest, 9 May, 1993
All Stops Out, 30 Jul, 1993
All Stops Out – regional tour, 14 Aug, 1993
Henry V, 18 Jul, 1994
The Five Nations Project, 1 Mar, 1995
Distortions (part of Hot Young Things on the Road), 20 Mar, 1995
People in the Dark (part of Hot Young Things on the Road), 20 Mar, 1995
Romeo and Juliet – a moved reading, 29 Aug, 1995
The Five Nations Project, 1 Nov, 1995
Cool Rebels, 10 May, 1996
The Wizard Party – fundraiser for The Great Leap Forward, 12 Sep, 1998.
ATYP is a fantastic organisation and it was such an honour to be there for many years, firstly as a teacher and then as its Artistic Director. We were able during that time, due to the tenacity and commitment of the board and all the staff to secure the Wharf space, an absolute coup. Kristin Williamson was very influential in helping this along, and Tim Wilson the General Manager at the time was also very instrumental in helping the company to move from George Street, to Argyle Place, and then to The Wharf.
It’s never one person that helps a company to grow, it’s a concerted effort from many, and this is the case with ATYP. All the hundreds and hundreds of young people, teachers, Artistic Directors, Administrators and General Managers, together with so many committed Board Members and sponsors have grown this magnificent organisation.
It was indeed a great time in my life. I look back on it with such fondness and joy. To help young people to be the best that they can be is a gift, and one that will be cherished in my heart forever. We created wild and magnificent theatre, fantastic classes, a safe place for young people to expand their minds and their creativity, a place where they belonged. The staff was dedicated, spectacular, and all round it rocked!!!!
What am I doing now? Spreading peace. I have had to learn that you can’t put peace outside of yourself, it has to be within first. So after many years of training in doing just that, I am now re-launching the Peace Angels Transformational Company, and this year we begin our Global Pilgrimage. We visit Ireland first for Peace One Day, a global celebration, that allows countries where there is war to put down their arms and allow for emergency health and educational needs to be met.
This weekend we have just shot our first Peace Angels video clip with the song, You Are Not Alone. I am also directing my husband Rob’s first one-man show, It’s my Guru and I’ll cry if I want to, which will premiere at Bodhi Festival at Easter in Newcastle. I am also directing the closing ceremony for Bodhi Festival.
I am passionate about consciousness and spend much of my time working in the arena of Sacred performance, Sacred Activism and meditation. It’s an enduring golden strand in my life.
Some of ATYP’s Hot Young Things: Festival of Young People’s Theatre, 1996, photo: Gabriele Bonney.
Sam Bowring as an actor at ATYP:
Conscious, 30 Aug, 1996
I Am an Island, 30 Aug, 1996 (both part of Hot Young Things: Festival of Young People’s Theatre, 1996).
A writer and standup comedian (check out details on those endeavours at sambowring.com) Sam has also always loved the theatre. After attending ATYP from the age of 14, he went on to become a Youth Director on the board of PACT Theatre in Erskineville, and also got mixed up with the theatre course at Charles Sturt University in Bathurst (even though it was not technically his course). In all those places he was involved in the production of many works, both on stage and behind the scenes. He has also written several plays.
I started out doing the general acting course at ATYP (can’t remember the exact name) with a couple of school friends, which we loved, because there was no drama offered by our overly maths-oriented stuck-up school. We continued doing various courses for some years, and had a real blast in every one. We met lots of like-minded young people (and some older tutors who became valuable contacts), and it was a really good creative outlet. The main production I was involved in was Hot Young Things – a series of short plays – when I was 16. I got to legitimately take weeks off regular school to be involved in theatre, what a frickin’ dream!
I work as a stand-up comic and a writer, writing in all kinds of fields (books, TV, freelance, etc). I have just finished writing a new play, actually, which is a musical about cats – no , I’m not kidding – which a couple of friends and I are about to try and get off the ground. We’ll see how that goes! In the meantime, I am also working on converting one of my kids’ books into a screenplay.
The best thing I’ve seen on stage, to be completely honest, is seeing my own writing come to life. It is a massive personal thrill and heaps of fun. If that sounds thoroughly arrogant, screw it, it’s the truth.
Cast of ATYP’s The Night We Blitzed the Bridge, 1985. We think Alex is in the back row, about 5 from the left…
One of the world’s leading ten-minute playwrights, Alex has had over 70 ten-minute plays produced in over 600 productions all over the world in countries including Australia, Canada, Chile, China, Estonia, France, Hungary, India, Japan, Malaysia, New Zealand, Pakistan, Philippines, Poland, Singapore, South Africa, Taiwan, UK and the USA. To date his work has been produced in 19 different countries.
His plays have been published in the USA, Australia and Germany and a collection of his short plays was translated into Persian and published in Iran.
His most popular play, 10,000 cigarettes, has had over 100 productions across the globe including being produced in over 30 states of the USA.
His longer plays have also been performed around the world including South Africa, UK, USA and around Australia including at La Mama, the Old Fitzroy, Chapel Off Chapel, the Darlinghurst Theatre, Newtown Theatre, the Brisbane Powerhouse, the Arts Centre in Melbourne and Belvoir Street.
In 2011, his full length play, 10,000 beers, premiered at the Darlinghurst Theatre in Sydney in an acclaimed production, directed by Lee Lewis.
He has had plays workshopped and developed by Sydney Theatre Company, Playwriting Australia and the Australian National Playwright’s Conference, as well as being a former winner of the Sydney Theatre Company Young Playwright’s Award, and Inscription (twice).
He has also twice received funding from the Australian Film Commission as well as recently having numerous short screenplays filmed.
He has been heavily involved in the development and growth of Short+Sweet, the largest ten-minute play festival in the world, that currently plays in Australia, Singapore, Malaysia, New Zealand and India.
He has also recently launched a new website – WWW.ALEXBROUN.COM- which is one of the most popular websites for ten-minute plays in the world, and where you can read, download and acquire performance rights for many of his plays free of charge.
Alex was involved extensively at ATYP from 1978 to 1986, back in the days of Jane Westbrook, Morgan Lewis (aka Morganics), Adam Cook, Lisa Hensley, Collette Rayment, Daryl Hilton, Nicole Kidman, Daniel Cordeaux, Lizbeth Kenneally, Anousha Zarkesh, Lucinda Armour, Mark Ferguson, Felix Williamson, Angelo D’Angelo, Billy Hibble, Jane Stephens and Tom Jennings.
As an actor at ATYP, Alex appeared in:
1986: A Shakespeare Collection (ATYP, at The Rocks Theatre, Dir: Adam Cook)
1985: The Night We Blitzed the Bridge (ATYP, for Sydney Festival at The Parade Theatre, directed by Simon Hopkins); Seneca’s Oedipus (ATYP, Myrtle Street Theatre, Chippendale, directed by Egil Kipste)
1984: A Daniel Come to Judgment (ATYP, Myrtle Street Theatre, Chippendale, with Nicole Kidman)
1983: Dead Man’s Alley (ATYP, at Nimrod Upstairs, directed by Jane Westbrook and Daniella Jones)
1982: A Child’s Christmas in Australia (ATYP, at Drama Theatre, Sydney Opera House, directed by Jane Westbrook)
As a writer, Alex’s first ever plays were produced at ATYP:
1986: Just Once (co-written with his sister, Charlotte), produced by ATYP at The Rocks Theatre, directed by Collette Rayment, with Lisa Hensley, Mark Ferguson, Morgan Lewis (aka Morganics), Felix Williamson, Imogen Banks, Daniel Cordeaux, Larry Turnbull.
1984: Falling Stars (a one-act play), produced by ATYP at The Powerhouse Museum, directed by Jane Westbrook.
1983: The Australia-Go-Round (a one-act play – as Sandy Broun), produced by ATYP at The Nimrod Upstairs, directed by Jane Westbrook.
Michael Ihlein was Chair of the ATYP Board of Directors from 2010-2016
Mr Ihlein is a highly experienced corporate and finance executive. He is a director of the Scentre Group, one of Australia’s largest real estate investment trusts and he is a director of Red Energy Pty Limited, a wholly owned subsidairy of Snowy Hydro Limited. He is also a director of CSR Limited, Australia’s leading building products company. He is also Chair of the Risk & Audit Committee and a member of the Safety Heath & Environment Committee of CSR Limited. Mr Ihlein had a long career with Coca-Cola Amatil Limited (and related companies), where he was Managing Director, Poland (1995 – 1997) and Chief Financial Officer (1997 – 2004).
He joined Brambles as Chief Financial Officer in March 2004 and became its Chief Executive Officer in July 2007 until his retirement in November 2009. He is an associate member of the Australian Institute of Company Directors, CPA Australia and a member of the Financial Services Institute of Australasia. He was Chair of the Australian Theatre for Young People, 2010-2016. Mr Ihlein holds a Bachelor of Business Studies (Accounting) from the University of Technology, Sydney.
Cathy Robinson was an ATYP Board Director 2008-2016
Cathy is a Director of LikeMinds Consulting. She has twenty years experience as a senior and chief executive in a number of organisations including the former Australian Film Commission, the City of Sydney and the Australian Institute of Company Directors. She is a former President of the Sydney Film Festival and has served on the boards of a number of organisations including the Museum of Contemporary Art (MCA), Sydney Festival, Australian Film Commission and the Communications Law Centre.
Rose, left, as an ATYP-er in the Acting for Camera workshop, 1992, with Assistant Tutor, Aden Young, photo: Tim O’Sullivan
Rose Byrne is one of Australia’s leading film stars, winning acclaim both locally and internationally.
Rose recently completed production on the HBO feature The Immortal Life of Henrietta Lacks alongside Oprah Winfrey.
In 2016, Rose starred in Bad Neighbors 2: Sorority Rising, alongside Seth Rogen and Chloe Grace Moretz, X-Men Apocalypse, reprising her role as Moira MacTaggert, and The Meddler with Susan Sarandon and J.K. Simmons.
In 2015, Rose starred in Spy, alongside Melissa McCarthy and Jason Statham, and Adult Beginners, with Nick Kroll; and in 2014, the musical remake, Annie, Shawn Levy’s This is Where I Leave You, alongside Tina Fey and Jason Bateman, and Nicholas Stoller’s Bad Neighbors, with Seth Rogan and Zac Efron.
Her other film credits include Derek Cianfrance’s The Place Beyond The Pines, with Ryan Gosling and Bradley Cooper; Claire McCarthy’s segment of The Turning, based on the collection of short stories by Tim Winton, for which Rose received an AACTA Award for Best Lead Actress; Paul Feig’s breakout comedy hit Bridesmaids, opposite Kristen Wiig; the psychological thriller Insidious, from James Wan; Matthew Vaughn’s X-Men: First Class, with James McAvoy and Michael Fassbender; Nicholas Stoller’s comedy, Get Him to the Greek, starring Russell Brand and Jonah Hill; the romantic dramedy Adam, opposite Hugh Dancy; Alex Proyas’ supernatural thriller Knowing, alongside Nicolas Cage; The Tender Hook, with Hugo Weaving; Danny Boyle’s sci-fi thriller
Sunshine; Juan Carlo Fresnadillo’s 28 Weeks Later; Sofia Coppola’s Marie Antoinette; Karen Moncrief’s critically acclaimed drama The Dead Girl; Star Wars: Attack of the Clones; the acclaimed I Capture the Castle, and Wolfgang Petersen’s epic Troy, opposite Brad Pitt.
Rose’s film career began in Australia with her standout role in the gritty crime drama Two Hands, opposite Heath Ledger. She went on to star in Clara Law’s The Goddess of 1967, for which she was awarded Best Actress at the Venice Film Festival.
Rose starred as Ellen Parsons in all five seasons of the award winning series Damages, alongside Glenn Close. She was nominated for a Golden Globe Award in 2008 and 2010, and an Emmy Award in 2009 and 2010, and received the AFI International Award for Best Actress in 2007 for her work on the series.
Rose made her Broadway debut in the Tony Award nominated play, You Can’t Take It with You, alongside James Earl Jones, and appeared in the Sydney Theatre Company’s La Dispute and Three Sisters, both directed by Benedict Andrews. In late 2016, she returns to Sydney Theatre Company to perform in Andrew Upton’s Speed-the-Plow.
Rob Carlton in the bus on tour with All Stops Out, 1989.
Rob Carlton at ATYP:
Spring Awakening, 6 Apr, 1989
All Stops Out, 20 Jul, 1989
All Stops Out – UK tour, 9 Aug, 1989
All Stops Out – Mel tour, 18 May, 1990
Romeo and Juliet, 24 Aug, 1990.
Rob Carlton has been a professional actor since he was 14 years old. A recognised face in Australia for both comedy and drama, his credits span TV, film and theatre. Recently Rob was seen on Paper Giants – The Birth of Cleo as Kerry Packer. He was nominated for an Australian Academy Award and won a Silver Logie for his performance.
2012 will see Rob as a regular panellist on the new Andrew Denton Panel show Randling, a support lead in the ABC drama Mabo and a support in PJ Hogan’s new film Mental starring Toni Collette and Anthony LaPaglia.
2013 will see Rob reprise his role as Kerry Packer in Paper Giants – Magazine Wars.
In February 2006, Rob won Tropfest with Carmichael & Shane which he wrote, starred in, co-directed and co-produced. He also won best actor that year.
From 2007 to 2009 Rob’s television production company, Shadowfax TV, produced 2 series of the award winning comedy, Chandon Pictures, seen on Movie Extra and the ABC. He co-directed the project and also takes creator, writer and acting credits. Chandon Pictures now plays in over 15 territories around the world, including the USA and UK and was nominated for multiple Logie and AFI awards. As a writer, Rob won an AWGIE award for Chandon Pictures.
His play A-Framed was first produced by his production company in 1998 to critical and box office success. A-Framed has since been produced in Sydney and Melbourne by 2 different theatre companies.
Rob also supports a number of charities including, but not limited to, the Dymocks Childrens’ Charities and Redkite.
Rob has a strong background in debating and theatresports through his time at the University of Sydney where he studied English and Australian Literature.
I joined ATYP classes straight after finishing high school, in my year off before starting university. I got involved in classes first with Mark Gaal and Rosalba Clemente. My first play was Spring Awakening. I then travelled to Scotland and England as understudy with the play All Stops Out. Great fun! I also toured All Stops Out, (as a cast member this time!) down to Melbourne. I think the final production I did was Romeo and Juliet at the Parade Theatre, NIDA.
I loved ATYP and all that it offered me then, and continues to offer now. First up, it was a great chance to meet like-minded young people from all over Sydney, not just the narrow (though lovely) community I grew up in. I still have so many close friends from that time. Many are still working as actors, many more are still involved actively in life, in a variety of ways. And this is one of the great things ATYP taught me. Participation is the key – active engagement in whatever is going on.
Whenever anybody young asks me what they might do to get ahead in the acting business, my first suggestion is ATYP.
I’m still an actor these days, but I’ve diversified to keep things interesting. I write, direct and produce television, through my production company Shadowfax TV. I’m developing a couple of different films at the moment too; one I’m writing and wanting to direct, the other I’m directing.
The best thing I’ve seen on stage? Morgan Lewis (ATYP student, same time as me) and I were there at the National Theatre in London the night Daniel Day Lewis had a ‘situation’ during his performance of Hamlet and had to crawl off stage. That was astounding. We were in London on the back end of an ATYP tour!
Recently the best play I’ve seen was Masterclass by Gareth Davies and Charlie Garber; a self-devised play put on in a performance space in Redfern. Of the major theatre I’ve seen recently, I’d have to say August: Osage County, performed the by the touring Steppenwolf company.
My advice to those who want to take on the theatre world? Be polite and turn up on time. And be brave… by that I mean don’t let fear turn you mean.
Kyly (Boldy) Clarke attended ATYP workshops in 2004.
Kyly started her acting career at the young age of 8yrs old, starring in a Milky bar TV commercial. There were several commercials and small roles to follow over the next 23 years.
Moving into her early 20’s, Kyly chose to focus on strong acting and accent courses, modeling and TV presenting. She enjoyed her classes at ATYP, and felt that it is a place where she was helped to better her style and understand the art of acting, and which provided a chance to explore different acting styles. It was a class she really looked forward to every week. She also completed an accent course at NIDA, as well as drop-in acting classes.
Kyly continued to be seen on our TV screens on various TV commercials while still modeling, and moving extensively into presenting for companies such as Telstra BigPond, before becoming our friendly expert on Foxtel’s The Weather Channel.
Kyly currently focuses on her modeling, being The Face of clothing label, Harris Scarfe, [email protected], and the brand ambassador for Sheer Cover Mineral makeup. She also chose to use her creativity, completing an interior design course specializing in decorating, with Sydney Design School, and now owns her own business: Bold interiors by Kyly Clarke.
My advice to young people who want to take on the (theatre) world?
Listen and learn. You never stop learning and if acting is what you love, then follow your dreams. It’s a great way to play different roles, experiment with your delivery while working with others and taking yourself out of your comfort zone. It’s a chance to watch other actors and members of the class, taking from them what you feel may work for you. Listen to the advice that your teacher gives, not only to you but the to other class members as well. Enjoy the classes and embrace the challenges – as you never know how magnificent you can be until you try.
RESIDENT DRAMATURG 2014-2017
Jenni, exploring her creative side at age 3.
Jennifer grew up in a farm outside of Gunning, NSW and has also lived in Wollongong where she studied Creative Arts and in Sydney since 2009.
She has developed new work for Playwriting Australia, Under the Radar/Brisbane Festival, Tamarama Rock Surfers, Merrigong Theatre Independent Artists Programme, Shopfront Contemporary Arts and Performance, the Underbelly Arts Festival, the Sydney Opera House Festival of Dangerous Ideas, Campbelltown Arts Centre, Hothouse, Griffin Theatre and of course ATYP. Jennifer has assessed scripts for Playwriting Australia, Belvoir, The Royal Court as part of an internship in their literary department and Sydney Theatre Company for the Patrick White Award.
In 2012 Jennifer was Belvoir’s Associate Artist- Dramaturgy and in 2011 was the Belvoir Literary Assistant. She was the Co-Artistic Director of the 2013 Crack Theatre Festival. In 2014 Jennifer was a Griffin Theatre Company Studio Artist and in 2016 the Dramaturgy participant for the Women in Theatre Program at Melbourne Theatre Company.
Harry Cook (centre), and cast of Citizenship, 2009, photo: Brett Boardman (c)
From early on Harry was performing in theatre shows in London, England, where he grew up. He played the Artful Dodger in Stagecoach London’s production of Oliver! and the title role of Bugsy Malone in Bugsy Malone. In 2009 Harry kickstarted his film career and starred as Geena Davis’ son in acclaimed film Accidents Happen. He then went on to play the lead role in Australian cult thriller, Caught Inside, which was shot in the Maldives.
Following his film work Harry then went back to the stage to play the lead role of Tom in Mark Ravenhill’s Australian premiere of Citizenship, directed by Lee Lewis at ATYP’s Studio 1 at the Wharf.
From there he went on to star in several films, television and theatre such as Panic at Rock Island and My Place, and also starred in the International Playwright Competition’s winning play, Russets, in Cambridge, England, in 2012.
Harry then starred as the lead role of Meat in Drown, which earned him a Best Supporting Actor award at the San Diego FilmOut Film Festival.
In 2013 Harry starred alongside Sam Neil and Bryan Brown in ABC Australia’s Old School,and then ventured to the USA in 2015 where he starred in Quarter Life Crisis.
Harry has publicly praised his time at ATYP, saying it was such a a wonderful learning experience and great collaborative place to grow as an actor.
Luke Cross (in hat), Mark Gaal and Christopher Tomkinson on ATYP’s All Stops Out UK tour, 1989.
Luke as an actor in ATYP productions:
Multiple Choice, 8 Jan, 1986
In Search of a Plot, 13 Apr, 1986
Arts Open Day, Sydney Opera House, 10 Aug, 1986
Grommitts, 8 Jan, 1987
Grommitts – tour, 5 Mar, 1987
Grommitts – return, 16 Jun, 1987
Burger Brain – the Fast Food Musical, 27 Sep, 1988
Spring Awakening, 6 Apr, 1989
All Stops Out, 20 Jul, 1989
All Stops Out – UK tour, 9 Aug, 1989.
My time at ATYP started in 1984, first as one of fourteen teenagers selected throughout NSW for the Unilever scholarships during Collette Rayment’s time as Artistic Director, and then later through an ATYP scholarship. I spent five years with ATYP , including time as an Assistant Tutor and have to say it was a magnificent experience, both in terms of being part of a youth organisation and as part of my life growing up with positive and wonderful friends and people. ATYP for me wasn’t just somewhere to go but somewhere that opened up the world for me and allowed me to find inside myself the ability to achieve so much later in life.
In my time I performed in In Search of a Plot, Multiple Choice, Grommitts (all performances – from the Sydney Opera House and Sailors’ Home to St Martin’s Theatre, Melbourne), 200 Candles – which became Burger Brain, Spring Awakening and finally All Stops Out (Sydney, as well as the Aberdeen Youth Festival, Cumbernauld, Glasgow, Scotland, and Hammersmith, England). During all this work, as well as in the workshops, events and weekly classes, I have had the privilege of sharing friendships with many ATYP alumni and some ATYP teachers. I enjoy friendships with past Artistic Directors such as Mark Gaal, and professional relationships (and friendships) with others met through ATYP.
It has been over twenty years since my time at ATYP. I have travelled the world and worked on some of the greatest stages with the greatest theatre companies, as a mechanist, and in both Australian and International film, first as an actor and then a technician.
Luke’s career began as a mechanist in the Opera, Ballet and Concert Hall, Sydney Opera House, 1987–1990, from where he went on to employment as a mechanist for Cameron Mackintosh’s Miss Saigon and Les Miserables, and Walt Disney’s Beauty and the Beast, 1994-1995.
Stints as Writer, Director and Storyboard Artists on short films Space, 1995, and The Tea Lady, 1996, took him into movies.
Luke was Leading Hand and Senior Technician for the feature films Superman Returns, 2005, Australia, 2006, Wolverine, 2007, Wolverine 2, 2012 and The Great Gatsby, 2011-2.
He worked as Lighting Technician on The Matrix, Matrix 2 and 3, 1997, 2000-1, Mission Impossible II in 1998, Moulin Rouge and Lantana, 1999, Star Wars II and III, 1999 and 2003, Garage Days and The Quiet American, 2002, Stealth (Senior Technician) and Gabriel, 2004 and Tomorrow When the War Began, 2009.
I have enjoyed working side by side with some of the biggest names in film and entertainment and yet I still count my time at ATYP as some of my happiest and most cherished memories.
Michael Cutrupi in ATYP’s Phaedra’s Love, 2008, photo: Heidrun Lohr (c)
Michael Cutrupi at ATYP:
Phaedra’s Love, 2 Apr, 2008
Fresh Inkubator: 9 Writer, 9 Scripts, 24 Hours, 19 Mar, 2009
A Secret Place, 30 April, 2009
Bustown, 25 Sep, 2009
I started at ATYP in 2007 with a camera class led by the amazing director, Michael James Rowland, and I was hooked. I loved working with these people, who enjoyed doing what I enjoyed doing.
In 2008, I was introduced to the director, Kate Gaul, who encouraged me to audition for Phaedra’s Love. I got the lead role and it was the most challenging and exciting 7 weeks of my career. I learnt a lot and met some fantastic people.
Michael is an actor, producer and theatre maker. As an actor he has worked with Sydney Theatre Company, American Repertory Theatre (Boston, USA), SITI Company (New York), Philippe Gaulier (Berlin), Baz Luhrmann, Taylor Mac, Kate Gaul and atyp (Australian Theatre for Young People).
As a Producer he has toured shows to festivals around Australia and is the founding Creative Producer of Fat Boy Dancing. In 2011 Michael launched Fat Boy Dancing (WWW.FATBOYDANCING.COM) as a platform to connect local and international theatre makers to create engaging, innovative and fresh experiences for their audiences.
He has recently returned from the USA and Europe working with PS122 in New York as a producer for the COIL Festival with the support of the Ian Potter Cultural Trust. He has also programmed ATYP’s Under the Wharf forums and is a founding member of Sydney Theatre Company’s Youth Advisory Panel, STC YAP, providing theatregoing experiences to those under 30.
Elizabeth (Claridge) Mackonis, Andrew Mackonis, Jadanne (Heuchan) Dare and Nicholas Dare at The Wharf for the 40th anniversary Big Birthday Bash, 23 Nov, 2003.
Nicholas Dare as Set and Costume Designer of ATYP shows and events:
Sparkleshark, 22 Apr, 2002
Hamlet, 8 Oct, 2002
Sponsors’ Thank You Event, 18 Nov, 2002
atyp Christmas Angels, 28 Nov, 2002
Brokenville, 28 Jun, 2003
Brokenville – tour, 17 Jul, 2003
Eclipse, 12 Jan, 2004
The Musicians, 12 Jan, 2004
17, 23 Apr, 2005;
… as provider of technical support:
Lucky, 19 Jul, 2002
The Crossing, 25 Sep, 2002.
Nicholas graduated from the Bachelor of Dramatic Art in Design at NIDA in 2001, and he has since designed set and costume for a range of theatre productions in the commercial, subsidised and independent sectors.
His design credits include: Smoke & Mirrors (Sydney Festival/Lunar Hare), The Pillowman (Company B), Love Song (MTC), Dealer’s Choice (Albedo Theatre/Critical Stages); Honour Bound (Sydney Opera House); Hedwig and the Angry Inch (Showtune Productions) The Boyce Trilogy by Louis Nowra; The Emperor of Sydney, The Marvellous Boy and The Woman With Dog’s Eyes (Griffin Theatre Company); Mary Stuart, Halpern & Johnson, Trying, They’re Playing Our Song and Losing Louis (Ensemble Theatre); Shakespeare’s R&J, Codgers, King Lear, Stone Sleeper and Birth Of The Cool (Riverside Theatres); Edmond (Albedo Theatre/B-Sharp).
In film, Nicholas has worked in art departments in varying capacities: Ned (2002 – Scenic Artist), Don’t Be Afraid Of The Dark (2009 – Set Designer) Me And My Monsters (2010 – Drafting) as well as designing a number of short films including Trapped, Sounds of Shadows, and The Eye of The Beholder. Nicholas also works as an Art Director for a number of TVCs.
As an Associate/Assistant Designer, Nicholas has worked on a number of large projects including King Kong, How To Train Your Dragon (Global Creatures: Designer Peter England); Priscilla, The Musical (Backrow/RUG: Designer Brian Thomson); Boy From Oz (BFO Productions: Designer Brian Thomson) and Dame Edna: Back With A Vengeance (Designer Brian Thomson).
ATYP was one of the first places I designed at after graduating from NIDA. The production was Sparkleshark. I met a whole new group of people, some of who I am still working with to this day. It was great to be able to design freely in a well-structured organisation with open-minded people, away from the pressure-cooker of commercial theatre.
I am currently the Design Associate on the new Global Creatures’ production, King Kong, which opens in June 2013.
The best thing I have ever seen on stage? For me it was hard to go past Warhorse in its original production. It seemed to me to be the almost perfect balance between story, performance and technical theatre.
My advice to young people who want to take on the theatre world? Always say yes.
Set of ATYP’s Boy Overboard, 2005, designed by Genevieve Dugard, photo: Giselle Haber.
Genevieve Dugard at ATYP:
Lucky, 19 Jul, 2002 (Costume Design Assistant),
Boy Overboard, 20 Jul, 2005 (Set and Costume Designer),
Boy Overboard – tour, 14 Mar, 2006 (Set and Costume Designer).
Genevieve trained in set and costume design at the West Australian Academy of Performing Arts, graduating in 2001.
Her design credits for set and costumes include Ngapartji Ngapartji (Big hART/Melbourne International Arts Festival/Perth International Arts Festival/Sydney Festival); These People, Bed, Request Programme, Taming of the Shrew, Rabbit (Sydney Theatre Company); La Voix Humaine, La Traviata (Opera Australia, OzOpera); Unspoken (Performing Lines); National Security and the Art of Taxidermy (Glynn Nicholas Group); Salt (The Street Theatre) Boy Overboard (atyp); Talking Heads (International Concert Attractions/Robert Fox); Top Shorts, Hilt, Cross Sections (TRS) and Kimberley Akimbo (Ensemble Theatre).
Genevieve’s credits for set design include Namatjira (Company B/BighART), Capture the Flag (TRS) X300, Emeret Lu (Bangarra Dance Theatre) Stickybricks (BighART/Sydney Festival); Mamu (Black Swan Theatre Company, Adelaide Festival of Arts, Hamburg Festival); Leaves Falling at Midnight (Glynn Nicholas Group); Black Milk (B Sharp/Wildcard Productions/Splinter Theatre Group) This Blasted Earth (TRS) and The Unscrupulous Murderer… (Darlinghurst Theatre/Splinter Theatre Co).
Her costume design credits include Honour Bound (Sydney Opera House/Malthouse Theatre); Run Rabbit Run, Paul (Company B) Rabbit, Songket (Griffin Theatre Company); Through the Wire (Performing Lines) and Paper City, The Cave (Buzz Dance Theatre).
For film, Genevieve has designed for First Date, Live to Give, Pop’s Dream and Unstuck.
In 2001 she received the WAAPA Production Design Industry Award.
Alexis, left, and the cast of Songforce, 2001, photo: Wendy McDougall
Alexis graduated from the Western Australian Academy of Performing Arts (WAAPA) in 2004 and made her professional debut in the musical Dusty. She was nominated for a 2006 Helpmann Award for her performance.
Following Dusty, Alexis starred as ‘Alice’ in an independent production of Closer by Patrick Marber and then made her debut with the Sydney Theatre Company in Troupers, starring Barry Otto.
Theatrical credits since then include ‘Little Sally’ in Urinetown, ‘Marianne’ in the 2008 revival of the hit Australian musical Shout!, ‘Spiderwoman’ in Kiss of the Spiderwoman at Darlinghurst Theatre, ‘Amber’ in The Hatpin at the New York Music Theatre Festival and numerous workshops and concert appearances.
In October 2007, Alexis was invited to tour Iraq and Afghanistan with the Australian Defence Force, to entertain Australian and Coalition troops. She cites the experience as one of the most challenging and gratifying of her life.
Alexis is the creator and star of the solo show Der Gelbe Stern, co-written by James Millar. Der Gelbe Stern made its debut at the Adelaide Cabaret Festival in 2011, followed by seasons at the Melbourne Cabaret Festival and a sold out season at The Reginald at the Seymour Centre in Sydney.
Alexis is based in New York City and is part way through a Masters in International Relations, at Deakin University.
For press, photo gallery and video clips, please have a look at Alexis’ web site:
ATYP’s Henry V, 1994, in former Eveleigh Railway Yards. Photo: Skeet (c)
I worked on the Henry V production in 1994 for many months, setting up a very large scale theatrical show in what is now Australia’s Technology Park. During the season I took on the role of the sound operator, and actually moved with the audience through the space, ending up in around fifteen different sound operating positions.
The people I worked with became close friends, NIDA mates (as we all went in at the same time and I still come across them in the industry), and colleagues in the live experience industry.
In terms of my creative development, ATYP was the first time I was inspired whilst being part of a production…many shows and experiences had inspired me, however this time I got to be part of the process. It still holds true to me this day and I loved the experience (hard as it was) and cherish it.
These days, I own and run a creative agency, Fourth Wall, as after Henry V I think most things are easier. We have been in business over sixteen years and have won national awards and lead the industry in bringing together a Collective of Creators. We also work with Sydney Theatre Company, Australian Chamber Orchestra, Bell Shakespeare Company, and Opera Australia on their fundraising experiences. I have also conducted the National Anthem in the Domain and performed on the opening night of an opera (Manon, 2011), although I am clearly better behind the stage.
The best thing I have ever seen on stage?
I love Barrie Kosky’s and Neil Armfield’s work. They constantly inspire me through their novel delivery of theatre that challenges and engages. As an experience: Sleep No More, in New York, was mind-blowing and a must for any creative.
My advice to young people who want to take on the theatre world is:
See and do everything.
The more life experience you have, the better, and the more travelled you are, the easier it is to lose and rediscover yourself.
Fourth Wall awards –
SPICE Magazine – ranked in the Top 5 Event Management Companies 2011
BRW Business News – ranked 33 in Australia’s 100 Fastest Growing Companies 2011
NATIONAL Hall of Fame 2008 – 2011 Special Event Organiser of the Year by Meetings & Events Australia
NATIONAL Winner 2008, 2007 and 2006 Special Event Organiser of the Year by Meetings & Events Australia
NATIONAL Corporate Social Responsibility Award Winner 2008
Tanya Goldberg, Matt Boesenberg and , in a proofsheet shot from ATYP’s Troilus and Cressida, 1998, photo: Tracey Schramm
Tanya Goldberg’s varied career with ATYP:
from participant and actor –
Macbeth, 5 Jul, 1997
Troilus and Cressida, 28 Sep, 1998, and
Presentation for Nestle` Write Around Australia National and NSW Zone finalists’ awards,
Winner of 1998 ATYP/ Lend Lease Scholarship 2000 to study drama overseas, to
ATYP workshops’ tutor, and
Director, ATYP’s The Voices Project: The One Sure Thing, 3 Feb, 2012
As co-artistic director of independent theatre company Ride On Theatre, her directing includes: The Story of Mary MacLane: By Herself (Griffin Theatre & Malthouse Theatre), Way To Heaven (Griffin), An Oak Tree, Merchant of Venice and Loveplay (all BSharp), and Debris (Tamarama Rock Surfers). Other directing: Der Gelbe Stern (Adelaide and Melbourne Cabaret Festivals, Seymour Centre), The Crucible (STC), Macbeth (WAAPA), Sparkleshark (NIDA), The Girl on the Sofa (New Theatre). Assistant directing includes: American Document (SITI Company and Martha Graham Dance Co, NYC), The War of the Roses, pts 1,2 (STC), Gate Theatre Dublin’s Sydney Festival Beckett season of First Love, Eh Joe and I’ll Go On; and L’Orfeo (Pinchgut Opera).
Tanya has received a Mike Walsh Fellowship and Ian Potter Cultural Trust Award to work with Anne Bogart of the SITI Company in New York City, and completed the Goethe Institute-Playwriting Australia Dramaturgy Exchange to the Munich Kammerspiel in 2010.
Tanya has worked on numerous screen projects as both director and producer. As director, her short film Great Western was funded by Screen NSW’s Emerging Filmmaker Fund, and Heck screened in Official Selection of the 2011 Palm Springs International ShortFest. WOW Festival (Audience Choice Award) and 2012 Australian Film Festival. Tanya is the producer on the short film Pig, which screened in Official Selection at both the Berlinale and Cannes Cinema des Antipodes, 2011.
Ashwin Gore in rehearsals for ATYP’s VX18504, 2008, photo: Regis Lansac.
Ashwin’s production career at ATYP:
Borders, 2 Apr, 2003
Back in Your Box, 13 Oct, 2004
Boy Overboard, 19 Jul, 2005
Boy Overboard – tour, 14 Mar, 2006
Kaleidoscope, 2 Oct, 2007
VX18504, 23 Jul, 2008
Ashwin first started at ATYP in 2002 doing the acting intensive workshops before taking part in ATYP’s productions. His first production was the 2003 season of Borders, directed by Chris Ryan. Ashwin explored various styles of performance including physical theatre (2004’s Back in Your Box with ATYPand Legs on the Wall), dance (ATYP and Meryl Tankard’s VX18504), ensemble work (2007’s Kaleidoscope) and the lead in ATYP and Parramatta Riverside’s production of Boy Overboard (which also toured the Adelaide Fringe Festival in 2006).
Since his last production with ATYP, Ashwin has moved to Los Angeles where he is currently working to achieve his dreams. In LA, Ashwin has appeared in numerous film and TV projects including the CBS pilot Ace in the Hole, the internationally acclaimed short film You Can’t Curry Love, and two seasons of the web series Game Night – which he wrote, produced and starred in (WWW.GAMENIGHTSERIES.COM).
Currently, Ashwin is busy creating more of his own work after striking a deal with online distributor Joost.com. He is also auditioning for several high profile film and TV projects and continuing his acting studies with acclaimed acting coach Aaron Speiser (whose clients also include Will Smith, Gerard Butler, Jennifer Lopez, LL Cool J and Marion Cotillard).
Susi Hamilton at ATYP:
Not the Ritz, 19 Apr, 1985
Papa Don’t Preach, 9 Oct, 1986
Arts Open Day, Sydney Opera House, 10 Aug, 1986.
I was at ATYP in the late 1980s, when it was at an old run-down warehouse on Myrtle St, Chippendale. That area has been gentrified now and there are swanky new apartments going up, but at the time, the brewery was around the corner and it often smelled really yeasty on our way to rehearsals!
I was involved in classes and plays for a number of years. The one which I remember most was Not the Ritz about growing up in Mount Druitt. We worked with a writer on that, and there were really long hours for rehearsals, but it was very rewarding. It was a great lesson in how pretty much most things in life are worth doing take time and effort to do.
My time there also led to a role in an Australian Film and Television School production, which was very exciting for a teenager like me! I think those formative experiences built confidence and allowed me to explore new friendships outside my school friends.
I’m not in the film or TV industry, but for a long time I did work in broadcast journalism, which is a close cousin. The performer in me was still able to shine! Now I work in a related field, as a communications practitioner for the University of New South Wales.
The best thing I have ever seen on stage? That’s a tough call, but one which sticks in my head from recent times is iOTA performing in Hedwig and the Angry Inch.
My advice to young people who want to take on the theatre world? It’s important to find your niche in anything you do, so I would encourage anyone to explore a range of roles, from stage manager to lighting design and acting!
Sarah Hansen in ATYP’s Bustown, 2009. Photo: Alexandra Vaughan (c)
Sarah as actor in ATYP productions:
Fesh Inkubator: 9 Writers, 9 Scripts, 24 Hours, 19 Mar, 2009
A Secret Place, 30 Apr, 2009
Bustown, 25 Sep, 2009
Fresh Ink Speed Date, 29 Nov, 2009.
Sarah has a diverse background in theatre, film and video production. Since taking part in ATYP’s Young Artist Program in 2009, she has graduated with an Advanced Diploma in Performing Arts at the Actors Centre Australia (2012).
Her acting credits include: Mrs Walsh/Noi in The Small Poppies (dir. Felicity Nicol), Olga/Edith in The Women (dir. Gale Edwards), Olivia in Twelfth Night (dir. Simon Hunt), Karen in Speed-the-Plough (dir. Phillip Rouse) and Nina in The Seagull (dir. Anthony Skuse).
She has written a cabaret/theatre piece called Bienvenue a Brelville, which went to the Adelaide Fringe Festival (2010), and which is currently being adapted for screen.
Sarah has also been working as a freelance News and Video Producer, Camera Operator and Editor with various networks and production houses. She produces and directs film and theatre projects through her company, Catch That Wave Productions.
Claire Harris, aged 4. Was a poser from a young age
Over the last twelve years, Claire has worked in various areas of the arts in marketing and communications. In Melbourne she was the Membership Manager of Live Performance Australia. This involved working on the Helpmann Awards, and launching Australia’s first Producer Development Program for emerging theatrical producers.
Claire graduated from Charles Sturt University with a Bachelor of Arts (Design for Theatre and TV) and has also completed an Advanced Diploma (Business and Public Relations) at Box Hill Institute of TAFE. She is currently studying a Masters in Arts and Entertainment Management through Deakin University.
Claire has worked with festivals, theatre companies, schools and arts organisations but in 2010 she returned to her first love, working with young people in theatre. She packed up her 1989 Corolla, moved to Sydney and took up the post of Marketing Coordinator at ATYP from March 2010 until 2013.
Sophie Hensser in Silent Disco, 2011, by Lachlan Philpott, produced by ATYP, Griffin Theatre Company and HotHouse Theatre. Photo: Alexandra Vaughan (c)
Sophie played Tamara in ATYP, Griffin Theatre Company and HotHouse Theatre production’s, Silent Disco by Lachlan Philpott, directed by Lee Lewis:
SBW Stables Theatre – 27 April, 2011
Tour – Q Theatre Penrith and The Butter Factory, Albury, 6 Jun, 2011
Tour – Fairfax Studio, Victoria Arts Centre, Melbourne, 3 Aug, 2011.
During my time at high school I became involved with ATYP. I began attending holiday workshops and after school courses, most memorably I took part in the Clowning course which was a phenomenal experience. I would often audition for and attend ATYP plays and felt it was an incomparable introduction for young people into the professional and creative world of theatre. It provided a platform for young people to approach performance, movement, and text from outside a classroom. It was a choice rather than a chore. ATYP opened up a world to me that was beyond my wildest dreams, it made the idea of working in theatre a reality now, rather than some far off ideal.
ATYP treats kids as adults, and guides them through their first experiences of bringing an ensemble performance to life. It was an incredibly inspiring time for me and I always looked forward to whatever workshop or course was coming up in the next season. I would say that ATYP was a strong inspiration for me wanting to become a professional actor, it was a place that really understood how to nurture interest in the arts and young talent.
What am I working on now?
I’ve just been involved in a TV series for Channel 9 and Playmaker Media called Love Child, as the character ‘Viv Maguire’, we will soon begin shooting Season 2.
The best thing I have ever seen on stage was when I was 6 years old. My mother took me to see Hello Dolly, with music and lyrics by Jerry Herman, which blew my mind. I was instantly hooked on theatre. Most recently I had the pleasure of seeing STC’s Waiting for Godot by Samuel Beckett, directed by Andrew Upton, starring Hugo Weaving, Richard Roxburgh, Phillip Quast and Luke Mullins. That was a truly spectacular night in the theatre, a fascinating production.
My advice to young people who want to take on the (theatre) world is to become involved in drama and theatre as early on and as often as you can. Join your extra-curricular drama class after school, take drama as a subject, attend NIDA Open Programs, take ATYP courses and holiday programs. Write your own plays and put them on with your friends. The more you can begin to create your own work, the faster you will learn the tools necessary to put on a play or to create a performance.
It takes many years of study to become an actor, you must be willing to put in the time and the practice to learning the craft. It takes commitment and passion to realise your dreams, so just be involved in every way you can.
You never know who you might meet who will end up giving you your first job one day.
Steven Hopley studied at ATYP from 2003 to 2006, in the Acting Intensive course with Felicity Jurd, Master Class in Voice & Body with Rowena Balos and Rowan Marchingo, the Master Class in Directing with Kate Gaul, and the Master Class in Comic Acting with Darren Gilshenan.
Steve is now an award-winning director and internationally performed playwright, co-director of Enigma and Hot Room Theatre Group, and Artistic Director of the Sydney Shakespeare Company.
Previously he worked as the Artistic Co-ordinator of the late-night horror show Theatre of Blood and Short+Sweet Central Coast, and as Artistic Director of the Central Coast Shakespeare Company.
As a writer, he is known for his short plays, Paradise and Spots (both of which have been performed internationally since 2005), his political thriller, Fear (Crypt Theatre, 2006), the outdoor living history production, Convict Footprints on the Old Great North Road (2013 and 2014) and William Shakespeare’s Reservoir Dogs (The Vanguard, 2014).
As a director, he has tackled The Merchant of Venice (2013) and Othello (2011) with Sydney Shakespeare Company; Macbeth (2005), Twelfth Night (2004), and Romeo & Juliet (2002) with Central Coast Shakespeare Company; The Maids (2012) and La Ronde (2014) with Enigma; The Shape of Things (2013) with Hot Room Theatre Group; and the world premiere of Deeming (2012) at the King Street Theatre.
As an actor, he has played role as varied as Iago in Othello, Christian in Cyrano de Bergerac, Alan Strang in Equus, Sir Andrew Aguecheek in Twelfth Night, Jim in Lamb of God, and The Tinman in The Wizard of Oz.
I am grateful for my time at ATYP, during which I learnt a great deal about myself and my craft, and forged working relationships that I treasure to this day.
Cathy Hunt and Deobia Oparei on opening night of Belvoir St Theatre’s Angels in America, pts 1, 2, 2013.
Cathy is a director, dramaturg and performer.
With Bec Allen she formed independent theatre company, The Impending Room.
Cathy’s directing credits include (for The Impending Room) Dangerous Lenses, Oct 2012, Old 505 Theatre; and Judith: A Parting from the Body, Oct 2011, The Bondi Pavilion Theatre. She co-directed Jane Bodie’s Still for Mad March Hare, Mar 2012, Old 505 Theatre. In 2012 she also directed a reading of How to Curse, for ATYP, and a workshop and reading of Jessica Tuckwell’s new play, Tiny Remarkable Bramble.
Cathy completed a dramaturgy internship with Playwriting Australia in 2012. After an honours degree in English Literature and Theatre & Film at the University of New South Wales, Cathy undertook postgraduate studies at the University of York, UK, on a Commonwealth Scholarship.
As a performer she has appeared as Ms Beige Brown (feminist performance poet) for over 10 years, including at the Crack Theatre Festival, Novemberism and Griffringe. Cathy performed in and wrote the screenplay for Beige Brown: Wombless Without Words, winning the Audience Choice Award at the 2005 Reel is Real Film Festival, Wagga Wagga.
She writes for Time Out Sydney, as a freelance arts journalist, and has worked for Belvoir since 2008.
My involvement with ATYP? I took some workshops in 1997 – Stanislavsky with Inga Romantsova, and Movement with De’obia Oparei – both were amazing in different ways. I left Australia for the UK that same year and was gutted that I’d only discovered ATYP just before I left the country. Last year I directed a reading for ATYP Under the Wharf which brought me back into contact with ATYP now. The impact on my life was significant. It was my first introduction to Chekhov and the De’obia Oparei workshop inspired me with his genuine passion for dynamic theatre making. Now, a decade and a half later, I met him again, as he’s performing in Angels in America.
I’ve worked for Belvoir for five years and recently started an independent theatre company, The Impending Room, with Bec Allen. I’ve directed our past two projects – the last, Dangerous Lenses, was the work of an ATYP Fresh Ink playwright, Brooke Robinson. I’m particularly interested in young Australian playwrights – dramaturging their scripts and putting them on. We plan to keep making our own work and have several ideas simmering for this year and next year.
The best thing you have ever seen on stage? Aalst from the National Theatre of Scotland and the Sydney Festival, was utterly gripping and incredible. Zinnie Harris’ play Further Than the Furthest Thing, at the Tricycle Theatre in London in 2001, astounded and made me ache. Neil Armfield’s The Secret River was the most poignant theatre experience, more like watching time than a play – the best thing I’ve ever seen in the Sydney Theatre. Caryl Churchill’s play Far Away completely got me when I saw it at STC, eerieness with extravagant hats. Once and For All We’re Going to Tell You Who We Are So Shut Up and Listen, by Ontroerend Goed, apart from having the best title, is definitely a contender – it fizzed and buzzed. Benedict Andrews’ direction of The Marriage of Figaro for Opera Australia was truly sublime – it actually induced bliss to watch it.
My advice to young people who want to take on the theatre world? Plunge in, do everything, but especially do what you love with people who love it as much as you do. Don’t worry about being perfect, worry about making the audience have an experience, feel something, glimpse something that you saw. Most of all, care about what you’re doing, every scrap of it, not just the surface stuff or the way people see you – more what you make them see and how much you can risk and how much heart you can have. Heart and mind at the same time, that’s what matters in theatre, and fearlessness and precision and a whole lot of contradictory and paradoxical things. Follow the impossibility and you will end up somewhere amazing that you never expected.
Timothy Jones and participants at the Injinoo Regional Residency, Cape York, 2008.
Timothy Jones’ career with ATYP:
ATYP Artistic Director – from 2003 to 2008
as Director of productions –
Antigone, 19 Jul, 1999
Antigone Unearthed – tour, 6 Sep, 1999
99% Accurate, 3 May, 2000
Re:Macbeth, 19 Jul, 2001
Lucky, 19 Jul, 2002
Skate, 15 Apr, 2003
Skate – tour, 29 Apr, 2003
Beatrice, 7 Oct, 2003
The Musicians, 13 Jan, 2004
17, 23 Apr, 2005
Boy Overboard, 20 Jul, 2005 (with co-Director, Rebecca Chapman)
Skate – return, 8 Oct, 2005
Skate – Belfast tour, 26 Oct, 2005
Boy Overboard – tour, 14 Mar, 2006 (with co-Director, Rebecca Chapman)
Magda’s Fascination with Waxed Cats, 9 Jul, 2006 (part of 3 Little Fears triple-bill)
Stories in the Dark, 3 May, 2007
The Teenage Alchemist – playreading, 15 Oct, 2008
Anna Robi & The House of Dogs, and
Shouting Fire in a Crowded Theatre – playreadings, 17 Nov, 2008 (part of Fresh Ink National Young Writers’ Program Staged Readings), and
ATYP National Studio, 1 Jul, 2000 (with David Berthold)
The Big Birthday Bash, 23 Nov, 2003 (ATYP 40th Anniversary celebration)
ATYP National Studio, 5 Dec, 2005 (with Rebecca Chapman),
as Artistic Associate – from 1999 to 2003, and
as tutor – from 1994 to 1998.
I never really thought about it while it was happening, but I was actually connected to ATYP for a long time! I began teaching acting classes around 1994, become the full-time Artistic Associate for the Company in 1998 and then Artistic Director in 2003, finally heading out the door in late 2008. – So yes, ATYP had an enormous effect on my life.
My first professional theatre experiences were with St Martin’s Youth Arts in Melbourne so it felt kind of natural to try and work at ATYP after I had gained my NIDA acting degree. At ATYP I became a passionate advocate for the value of the arts in the lives of young people. I regularly saw the enormous benefits that quality, practical artistic experiences can have on individuals as they navigate the challenges of growing up and becoming adults. ATYP was often a place of sanctuary and safety for young people during this process and it was a great privilege to work with them at this important time in their lives. Interestingly many of the core group of people I directed in productions while Artistic Director have remained firm friends with each other, now well into their 30’s. Yes, ATYP is a special place.
I am currently the Artistic Director of the Seymour Centre in Sydney. The Seymour is a large multi-venue arts complex that, like ATYP, has an extensive arts education program.
The best thing I have ever seen on stage? Well that’s easy – an ATYP show of course: There was a fantastic collaboration we did with Legs on the Wall called Til Someone Loses an Eye – it played close to Christmas when it was warm, and in the final scene a garden sprinkler was brought on stage and the cast and audience got very wet. The show was a huge hit and extended for a week.
My advice to young people who want to take on the theatre world? 1st thing – get involved: ATYP is a great place to meet like-minded friends and work together on an exciting challenge like creating a theatre performance. You may not end up with a career in the arts but these experiences will give you great skills to take into whatever path you choose. If you want to make it your career, get really involved and do as much as you can: workshops, productions, training, etc, but make sure that after a time you ask yourself if the theatre is giving you as much as you are giving it. If it’s a struggle and you’re not enjoying the life, gain some new skills in different areas, nothing will be wasted. Life is great when it is challenging but it is also meant to be enjoyed.
Lally Katz, on the right, at ATYP National Studio, 2000, in Alice Springs.
Lally Katz at ATYP:
Delegate to National Studio, 2000,
Fresh INKubator: 9 writers, 9 scripts, 24 hours, 19/3/2009 (mentor to writers)
Fresh Ink Young Writers’ Camp, 20/7/2009 (mentor to writers)
Fresh Ink Speed Date, 29/11/2009 (mentor to writers).
I went to the ATYP National Studio in Alice Springs in the year 2000. I think it was the very first one! I had the most brilliant experience there. I met my peers from all over Australia and really connected with them and their work. I still know and am in touch with a lot of them all these years later. It not only opened my mind to what was going on in the arts in my age group all around the country, we were also taught and mentored by some of the most amazing artists. This was huge. For my development as an artist and for my confidence as a young artist.
At the moment, I am working on some stories about the various psychics I have been seeing over the past couple of years – one from New York in particular. And also a play about my Dad when he was in a Karate Dojo in New Jersey in his youth.
The best thing I have ever seen on stage? There have been so many best things. I honestly can’t say. I have loved so many different shows – of different styles, of plays, dance, spoken word, surrealism, naturalism – I just can’t say! Plus I sort of remember it all now like scenes from different dreams. I see so much theatre and it teaches me so much about my craft, but I don’t think about it that much, it goes and lives in my subconcious.
My advice to young people who want to take on the theatre world? Work hard. Dedicate yourself to your craft. See as much theatre as you possibly can. Work on as many shows as you possibly can. Always do more than seems reasonable. Listen to your instincts, but be prepared to work on and improve your craft. This is trickier than it sounds! And be both generous and ambitious.
Lally had three world premiere plays programmed in Australia in 2011: A Golem Story, at Malthouse Theatre, Neighbourhood Watch, at Belvoir and Return to Earth, at Melbourne Theatre Company. Starchaser, a new play for children, was commissioned by Arena Theatre and premiered in 2012.
Neighbourhood Watch was nominated for four Sydney Theatre Awards in 2011, including Best New Australian Work, Best Mainstage Production, Best Actress in a Leading Role in a Mainstage Production (Robyn Nevin) and Best Actress in a Supporting Role in a Mainstage Production (Kris McQuade).
Lally wrote an episode of the second series of Spirited, starring Claudia Karvan, for W Channel and Southern Star. She has also written television for The Elephant Princess, a children’s series by Jonathan M Shiff Productions.
Goodbye New York, Goodbye Heart opened in New York in late 2010. The Apocalypse Bear Trilogy played at the Melbourne Theatre Company as part of the Melbourne International Arts Festival in 2009. Lally adapted stories from the bible for The Mysteries: Genesis at Sydney Theatre Company. When the Hunter Returns was commissioned and produced by The Gaiety School of Acting in Ireland and had a return season at the Dublin Theatre Festival. Her play Goodbye Vaudeville Charlie Mudd premiered at Malthouse Theatre (co-produced by Arena Theatre) and won the Victorian Premier’s Literary Award for drama in 2009.
Lally’s adaptation of Frankenstein was directed by Ralph Myers at Sydney Theatre Company in 2008, and was nominated for a Queensland Premier’s Award for Best Drama Script. In 2007, Lally co-wrote Criminology, with Tom Wright, which was produced by Malthouse Theatre and Arena Theatre, and two short plays, Waikiki Palace and Hip Hip Hooray, formed a double-bill premiering at Sydney Theatre Company that same year.
Stuck Pigs Squealing Theatre has produced a series of Lally’s plays, The Black Swan of Trespass, which played at Malthouse, Belvoir and the New York International Fringe Festival, where it won the Producer’s Choice Award, after winning several Green Room Awards in Melbourne. The Eisteddfod premiered in Melbourne at the Storeroom Theatre, and transferred to Malthouse, Belvoir and PS 122 and Richard Foreman’s Ontological Hysteric Theatre in New York City. This production won the 2004 Best Independent Production Green Room Award.
Lally participated in the attachment programme at the Studio at the National Theatre in London in 2009 and a British Council Realise Your Dreams grant for 2010. Lally was a Churchill fellow in 2010, and was appointed a Writer-In-Residence at Melbourne University in 2011. In 2012, Lally won InStyle Magazine’s Women of Style Award in the arts category.
In the cast ‘n crew shot of ATYP’s Brokenville, 2003, Daniel Krass is third from the right at the back.
Daniel Krass’s career at ATYP:
as an actor –
Romeo and Juliet – a moved reading, Acts 1-3, 20 Oct, 1995
Cool Rebels, 10 May, 1996
as Sound Designer –
Bubble, 4 Apr, 2002
Skate, 15 Apr, 2003
Skate – tour, 29 Apr, 2003
Brokenville, 28 Jun, 2003
Brokenville – tour, 17 Jul, 2003
Beatrice, 7 Oct, 2003
The Musicians, 13 Jan, 2004
17, 23 Apr, 2005
Skate – return, 8 Oct, 2005
Skate – Belfast tour, 26 Oct, 2005.
I attended ATYP from the age of 13, beginning with an acting class with Adam Kronenberg. I performed in the production Cool Rebels in 1996 (I think). Later I came back to ATYP as a Sound Designer and worked on shows including Bubble, Skate, Brokenville, Beatrice, The Musicians.
I suppose ATYP gave me my first introduction to professional theatre practice. Had I not been offered opportunities as both a student and a professional, I doubt that I would be involved professionally in theatre today. ATYP has ended up being as important to me in terms of training and experience as the rest of my schooling and tertiary education.
I am about to start work on a development of a show about food and supermarkets with a company called A Moment’s Peace, based in Glasgow. I have two shows just beginning their London 2012 tours: Mikey & Addie and Skewered Snails. Later in the month I will be assisting in the remount of two shows for the Edinburgh Fringe: The Ballad of Pondlife McGurk, which toured to Australia last year, and The Curious Scrapbook of Josephine Bean, which was created in October last year.
The best thing I have ever seen on stage? I still struggle to find anything surpassing a couple of Barrie Kosky shows I saw many years ago: Tartuffe and Seneca’s Oedipus. I was blown away by The Author by Tim Crouch, at the Edinburgh Fringe in 2010.
My advice to young people who want to take on the theatre world? Try to be open, curious, and prepared to be wrong a lot of the time.
Danny began working as a composer and sound designer with ATYP in 2001.
He has been living and working in Scotland since 2007, and now resides in Glasgow.
Sound Designer: The Infamous Brothers Davenport, for Vox Motus / Edinburgh Lyceum; Ruben Guthrie for Ironbark.
Composer/Sound Designer: Mikey & Addie for Macrobert / Andy Manley / Rob Evans, London; Skewered Snails for Iron Oxide, London; I Could Eat a Horse for A Moment’s Peace; Peter Pan for Sherman Cymru; White and The Ballad of Pondlife McGurk for Catherine Wheels; and The Curious Scrapbook of Josephine Bean for Shona Reppe Puppets.
Other theatrical credits include My House (Starcatchers), Hannah & Hanna and Kes (Catherine Wheels), Littlest Christmas Tree and Rudolf & Mr Snow (macrobert), 1000 Paper Cranes (Lu Kemp & Abi Docherty) and Allotment 4 (NTS).
This year The Ballad of Pondlife McGurk, and The Curious Scrapbook of Josephine Bean will make return appearances at the Edinburgh Fringe. The Ballad of Pondlife McGurk will also tour to the New Victory Theatre on Broadway. In 2012 White will have toured Australia, Britain, France, Norway, Japan, Hong Kong and Macau.
Julian Larnach is a Sydney-based playwright. He holds a Bachelor of Arts (Government and International Relations, 2011) from the University of Sydney and a Graduate Diploma in Dramatic Art (Playwriting, 2012) from the National Institute of Dramatic Art.
Julian was awarded the inaugural EMERGE: Riverina Playwrights Commission by the Outback Theatre for Young People and was an Affiliate Writer at Griffin Theatre Company. His play Umami was developed through an Australia Council JUMP Mentorship and was selected for a National Script Workshop through Playwriting Australia. He has been shortlisted for the Edward Albee Scholarship and the PWA Re-Gen Seed Commission.
His monologue Something I Prepared Earlier was developed at the 2013 ATYP National Studio and was performed as part of ATYP’s The Voices Project: Bite Me production, and published by Currency Press in early 2014. Julian has completed creative developments for new works with the Australian Theatre for Young People, Darwin’s National Youth Week Festival, NIDA Independent and Griffin Theatre.
In 2014, he completed a writer’s attachment with Melbourne Theatre Company, a dramaturgy internship at Belvoir and travelled to Europe on an Australia Council ArtStart grant.
Julian attended the National Studio as the winner of the EMERGE: Riverina Playwrights Commission through Outback Theatre for Young People.
Tessa Lind and Dominic Witkop in one of the Bookends adaptations, 2007, photo: T Casu (c)
Tessa Lind at ATYP:
This Territory, 8 Mar, 2007
Candyfloss / Just Annoying / The Boy in the Striped Pajamas / Just in Case, Bookends Project, Sydney Writers’ Festival, 28 May, 2007
Gossip, 14 Jul, 2007
Kaleidoscope, 2 Oct, 2007.
Tell us about your involvement with ATYP– what did you do? What effect did atyp have on your life?
I took part in various master classes and productions over the years and found ATYP to be an imperative part of my training. ATYP always offered a spectrum of classes and productions, so I always felt challenged to explore different forms of performance such as clowning and dance.
What are you up to these days? Do you still have any involvement in the arts industry or have you moved into other areas?
I have just graduated from the full-time Acting course at NIDA and am currently preparing for a workshop with Larry Moss and a piece for the Tamarama Rock Surfers’, Bondi Feast: Pigeon by Jess Bellamy.
What is the best thing you have ever seen on stage?
It’s a tie – two productions by the Berlin-based Schaubühne Theatre Company – Hamlet and Hedda Gabler. Two extraordinary, provocative and visceral pieces of theatre which made my heart pound out of my chest the entire time – with my eyes like dinner plates!
What would your advice be to young people who want to take on the theatre world?
Have pleasure and your audience will have pleasure 😉
Tessa graduated from NIDA in 2011, and has since enjoyed working on Eugene O’Neill’s Thirst directed by Dominic Mercer, Richard’s Rampage master class with Kevin Spacey and recently with Larry Moss in 16th Street’s master class in Sydney.
Whilst at NIDA, Tessa’s acting credits include Lucy in Pains of Youth directed by Tom Wright, Louise Maske in The Underpants directed by Craig Ilott, Satin in Nana directed by Jennifer Hagen, Marya Konstantinova & Nikolayevna in Flight directed by Sergei Tcherkasski, Phoebe in As You Like It directed by Ros Horin, Jess in Lyrebird directed by Jemma Gurney, Sycorax and Issabella in Lots In Space directed by Peter King and Holly in Griffringe: A Very Crappy Christmas at Griffin Theatre, directed by Kip Williams and Stephen Nicolazzo.
Before drama school Tessa studied Clowning with Philippe Gaulier at Ecole de Philippe Gaulier in Paris and at the Australian Theatre for Young People she performed in Meryl Tankard’s Gossip, Noëlle Janaczewska’s This Territory directed by Becky Chapman, a number of short plays in the Bookends Project, directed by Jo Turner, for The Sydney Writers’ Festival and Kaleidoscope directed by Gavin Robins for Cirque du Soleil and Oxfam International Youth Partnerships.
Kirk Page (left), and Julian Louis (right), co-Directors of Out of Sight, 2001, created with ATYP Walgett Regional Residency participants.
Julian is a theatre director and devisor/collaborator. Julian is currently Artistic Director of NORPA, the Northern Rivers Performing Arts Inc (2007 – present). For the company Julian has directed Not Like Beckett and The Bloody Bride and is currently developing new theatre works as part of NORPA’s Generator Program. He has extensive experience as a theatre maker working also in opera, circus and physical theatre.
Julian has devised and directed Wilde Tales for B Sharp and Critical Stages – extensive tour of NSW and Five Stories High as part of the 2003 Sydney Festival for State of Play, which he co-founded in 2001. Some credits from the last few years include: Director Monkey Shines for Loose Canon /Sydney Opera House; Director Sea’s Rising Southern Edge Arts (WA, Albany); Director, the Menotti Opera The Telephone and the Shakespearean Opera Project The Falling for The Sydney Conservatorium of Music. Associate Director The Underpants, Company B Belvoir’s national tour.
Director Performix and Contact for ATYP and Movement Director/ Associate Director on Spurboard by Nick Enright for atyp and STC. Julian was Assistant Director on Henry V directed by Antoinette Blaxland and The Hour We Knew Nothing of Each Other directed by by Michael Gow. Also for ATYP and The Australia Day Council, Julian conceived and directed Standing Room Only which was performed by over 50 performers throughout Sydney linked by 15 red double-decker buses, culminating in a 30-minute circus performance work at Circular Quay. It rained!
Julian has worked widely in youth theatre, creating original works in regional communities and throughout Australia. Julian is a Board member of Kultour, Arts on Tour and Spaghetti Circus and is creatively involved in the newly launched Splendid Arts Labs held annually in Lismore.
An influential aspect to Julian’s career has been creating community projects in regional areas, directing works in remote areas for ATYP including Broken Hill, Walgett and the Pilbara (International Perth Arts Festival). Also youth projects for Liverpool Council/ The Australia Council, Shopfront Theatre, Casula Powerhouse, Company B and Big hArt.
Julian holds a BA in Theatre and Media from Charles Sturt University, Bathurst, is a graduate of NIDA’s director’s course, and has trained with Philippe Gaulier (London) after being awarded the Lend Lease Scholarship by ATYP.
ATYP has been a major influence on my theatre practice and career.
1 Sep, 2009
l-r, back: Michael Huxley, Jessica Read-Brain, Emma Baily; front: Timothy Jones, Andrew Mackonis, Stephanie timmins (McCann), atyp staff at atyp Open Day, 2005.
Stephanie Timmins (now McCann) attended atyp classes and holiday workshops throughout her teens and into her 20s, throughout the 1990s.
After completing a Bachelor of Arts (Theatre, Theory and Practice) at Theatre Nepean (UWS) in 2000, she did her uni secondment in the Opening and Closing Ceremonies’ team at the 2000 Sydney Olympic Games.
In 2001, she headed over to London and Edinburgh where she worked at the Theatre Royal Drury Lane, and with Theatre and Film Producer, Robert Fox [Film: The Hours, Iris; Theatre: Breath of Life (West End) with Dames Maggie Smith and Judi Dench, The Boy from Oz (Broadway), with Hugh Jackman]. In Edinburgh she worked at the Fringe Festival in 2002 and 2007 for C venues and Assembly.
In 2003, Stephanie came back to Sydney and returned to atyp to become Co-ordinator where she assisted thousands of budding thespians find their perfect atyp course. She worked on a number of atyp’s productions including The Musicians, Puntila and his Man Matti, Skate, Beatrice and What the Umbrella Did Next, and worked alongside tutors to help classes run smoothly.
Since leaving work at atyp in 2005, Stephanie has been working on events such as Sydney Festival, Sydney Film Festival, Biennale of Sydney, Breakfast on the Bridge, Chinese New Year, Sydney New Year’s Eve and World’s Funniest Island, just to name a few, and continues to be a avid supporter of the performing arts.
In 2007, Stephanie completed a Graduate Diploma of Management (Arts Management) at UTS and continues to learn, grow and be inspired by amazing artists.
atyp has helped me understand and shape what I wanted to do with my life. It has introduced me to such amazingly talented people who have become my extended family and taught me to appreciate so much. I hope all budding thespians out there look to atyp as a safe place they can finally feel ‘at home’. Long may atyp’s legacy live on and here’s to another 50 years!’
The cast of atyp’s There, 2002.
Brendon McDonall at atyp:
as an actor –
Edward II, 8 Mar, 2001
The Massacre at Paris, 15 Mar, 2001;
as Director –
There, 26 Mar, 2002 (and co-Devisor)
Out/Side/In, 3 April, 2004
and as a tutor of Acting workshops.
Brendon is a graduate of UWS Theatre Nepean (Acting) and AFTRS (Australian Film, Television & Radio School – Directing and Screenwriting).
Brendon’s many stage credits include roles for the Bell Shakespeare Company, Sydney Theatre Company, Monkey Baa Theatre for Young People, Darlinghurst Theatre Company, Nightsky, Theatre South, JT Productions, Harlos and Q Theatre.
Most recently he toured nationally in the Helpmann Award-winning production of Thursday’s Child for Sydney Theatre Company Ed/Monkey Baa and appeared in the ABC series Review with Myles Barlow.
Brendon has worked extensively as a theatre director with credits including the world premiere of the musical Somewhere… by Kate Mulvany and Tim Minchin, which was commissioned to open the new Q Theatre; Love’s Triumph (two seasons) and The Mystery Of Irma Vep for the Darlinghurst Theatre Company; Look Back in Anger for UOW; Falsettos, Search & Destroy and the Sydney premiere of Ben Ellis’s Falling Petals for new theatre; Red Noses, The Visit and Henry V for Theatre Nepean; Out/Side/In and From Here To There for atyp; The Tuesday Clan and The Nimbs for Shopfront; the Australian premiere of the musical Whistle Down The Wind and recently, Moira Buffini’s A Vampire Story for NIDA.
He has taught for NIDA, the Bell Shakespeare Company, Theatre Nepean, AADA, Griffin Theatre Company, Shopfront and atyp.
His short film The Law has played nationally in major film festivals and won a jury award at Flickerfest 2012.
Rachel Moorhead (atyp Adminstrator, 2000) and Jane Miskovic at the opening night celebrations of atyp’s Birds, 2000.
I was a tutor at atyp from 1999 to 2005. The areas I tutored were music theatre, cabaret, dance, movement and physical theatre. I tutored 8-25 year olds, beginners to advanced, holiday workshops and term programs. I also was the choreographer/movement director for Birds, 23 Aug, 2000 (Olympic Arts Festival) and Operation Marlowe, Mar, 2001, directed the atyp Christmas Angels, who appeared at the City of Sydney’s Free Children’s Christmas Concerts, City of Sydney lighting of the Christmas Tree celebrations, and at two of the Lord Mayor’s Christmas receptions; and created and directed performances for a number of atyp events, including:
Young Australian of the Year Awards, NSW, 2001, and National, 2002, for which atyp provided an ensemble,
Sony Foundation Ball, for which fundraising event for atyp’s principal regional sponsor atyp provided a 40-strong choir and the atyp Christmas Angels,
Under Construction – cabaret, 20 Jul,2004, 2-night showing of cabaret shows devised during 12-week Cabaret workshop at atyp,
Cabaret Collective – cabaret, 27 Jul, 2005, co-directed by Jane Miskovic and Andrew Davidson, an evening of 12 short cabaret shows written, rehearsed and performed by atyp students, participants in a cabaret workshop held over 10 weeks in Term2, with entry by audition.
I very much enjoyed my time working with atyp. I was only 23 when I started tutoring, young enough to still be a student, and I will always be grateful for the opportunity atyp offered me to continue to grow as a director, choreographer and tutor. It is an infectious space. I was very inspired by the creativity, bravery and energy of the company and felt very supported to bring my own ideas and projects to the group. Many of the staff, tutors and students I worked with I continue to work with today and many, I am happy to say, are also friends.
I work in international events, including four Olympic Games and 17 international events in total, and my main role is direction of the Parade of Athletes and large-scale choreography. I work a lot in music theatre and cabaret, and choreographed for NIDA’s singer dancer actor course for a decade. I am the co-director of The Project – Schools Industry Arts, a new initiative linking students and teachers with the performing arts industry.
I am also a clinical psychologist and my current clinical research focus is the treatment of adolescent eating disorders.
What is the best thing I have ever seen on stage? This is way too hard a question to answer. I regard every opportunity to see a performer generously share their passion, dedication and insight as a blessing.
My advice to young people who want to take on the theatre world? Get involved! I started by choreographing my school musical in year 9 when the only teacher in the school who had a dance background went on maternity leave. That was the first step in a career that has so far spanned 20 years and 14 countries. The best advice I can give anyone is to find something you love to do and give it all you’ve got.
Stephen Multari in rehearsals for atyp’s VX18504, devised and directed by Meryl Tankard. Photo: Regis Lansac (c)
Stephen is a founding member of MopHead Productions. MopHead recently staged 4000 Miles for atyp Under the Wharf.
Stephen has been fortunate enough to work consistently on some fantastic projects. Recently, he finished shooting the soon-to-be released feature, Circle of Lies, where he played ‘Denholm’: a teenager with a whole lot of attitude. He’s appeared in shows like Home & Away and All Saints.
In the past, he starred in A Better Tomorrow, which went all the way to the Cannes Film Festival. He also played lead role ‘Billy’ in the popular children’s group The Moogies. With numerous live performances under their belt, the group also recorded and released an album. He has shot a tele-series for Channel 7; 52 episodes as the host of the program Kid Detectives.
For ABC, he played the role of ‘Tim’ in Dance Academy. Stephen has been busy these past few years performing in numerous theatre productions. For atyp, he was a principal in Meryl Tankard’s physical theatre piece, VX18504, the lead in Bison at Belvoir Street Theatre and the male lead ‘Benito’in References to Salvador Dali Make Me Hot, for Griffin Theatre Company.
His experience with voice-over work has been plentiful. He has voiced roles for film (in many accents), television series and recorded numerous character voices for kids’ CDs.
My first show with atyp was Meryl Tankard’s physical theatre piece, VX18504. What an incredible way to be welcomed into the atyp family! My experience during this time is without a doubt one of the highlights of my life to date. Working with the sublime Meryl Tankard was a true gift.
As the creative director of MopHead Productions, we are busy working on our next theatrical venture. As far as acting is concerned, I’ll be working with Sarah Goodes on a staged reading of The Laramie Project for the STC (a play that I first saw performed at atyp). Next year I’ll be playing Trip Wyeth in the Ensemble Theatre’s Other Desert Cities.
The best thing I have ever seen on stage? This is ridiculously tough! August: Osage County. iOTA and Paul Capsis doing their thang. Edie Falco in The House of Blue Leaves. Frances McDormand in Good People.
My advice to young people who want to take on the (theatre) world? Just do it! (Nike stole this from me). If you are truly passionate about telling a story and are in it for the right reasons, then theatre is what you should be doing!
Article in The Daily Telegraph, by Chelsea Clark, 2 Mar, 2001, about atyp’s The Massacre at Paris, 2001, by Christopher Marlowe, adapted by Tommy Murphy.
Tommy Murphy’s productions at atyp, as playwright:
Troy’s House, 12 Oct, 1999
The Massacre at Paris, 15 Mar, 2001, from the play by Christopher Marlowe
Kinderspiel – Out of Bounds, 5 Jan, 2002, with Odette Bereska, Stephan Hoffmann and Manuel Schobel
Bendy, 6 Jul, 2002.
Tommy Murphy served as a Director on the atyp Board, from 2005 to 2010.
Tommy Murphy’s adaptation of Lorca’s Blood Wedding opens in May as part of the London 2012 Cultural Olympiad for Royal & Derngate theatre. Holding the Man opened on the West End in 2010. Gwen in Purgatory premiered at Sydney’s Belvoir Theatre before touring to Geelong and Brisbane. It received the WA Premier’s Award for Best Play (2011).
Strangers in Between (2005) and Holding the Man (2006) won the NSW Premier’s Award in successive years. Strangers in Between toured Queensland, NSW, Victoria and Tasmania in 2008. Holding the Man was remounted in 2007 before transferring to Sydney Opera House, Belvoir, Melbourne Theatre Company and Brisbane Powerhouse. It was produced by New Conservatory Theatre Company, San Francisco in 2008, Silo Theatre, Auckland in 2009 and State Theatre Company South Australia in 2011. Holding the Man also won the 2007 Australian Writers’ Guild Award (AWGIE) and the Philip Parsons Award.
Saturn’s Return premiered at Sydney Theatre Company’s Wharf 2 in 2008 and transferred to the main stage in 2009. Murphy’s other works include young people’s theatre pieces Troy’s House (SUDS 1999, atyp and the Old Fitz 2000), Precipice (2007) and an adaptation of Marlowe’s The Massacre at Paris for atyp (2001).
Murphy is a graduate of Australia’s National Institute of Dramatic Art (Director’s Course), a past president of Sydney University Dramatic Society and a board member of Australian Theatre for Young People (2005-2010). Murphy’s accolades include a Centenary of Federation Medal, the British Council Realise Your Dream Award and Honorary Associate for the Faculty of Education & Social Work at the University of Sydney.
Tommy Murphy is currently writer-in-residence at Belvoir. He also writes for film and television.
Rubi Orascanin, Jane Miskovic and Wei Han Liao at the opening night of atyp’s Birds, 2000.
Rubi Orascanin (Pavelic) was on the staff of atyp as Co-ordinator, then Administrator, 2000-2001.
Rubi Orascanin is currently Executive Assistant to the Artistic and Executive Directors of Queensland Theatre Company in Brisbane.
Prior to her employment at QTC, and taking a break to become a Mum, Rubi worked for 6 years with Virgin Australia as the Executive Assistant to the General Managers of Network and Revenue Management, dabbled at Queensland Rail and had a very active career fitness-instructing on the side.
Her career as an Assistant spans over 10 years. When originally employed by atyp, Rubi held the position of Receptionist until her abilities to organise the team, events, workshops and bookkeeping were utilised, and she was moved to the Administrator role, becoming an all-rounder for the team.
Chris Lilley, Loretta Walsh, Muffy Potter and Ben Borgia in atyp’s 99% Accurate, 2000, photo: Aileen Yap.
Muffy Potter’s atyp productions:
Spurboard, 4 Nov,1999
99% Accurate, 2 May, 2000
Spurboard – tour, 11 Oct, 2000
Muffy Potter remembers her time at atyp in the late 90’s with great fondness. From participating in a 10-day workshop in Alice Springs, to traveling around the upper Hunter Valley performing Nick Enright’s Spurboard, her atyp experience exposed her to talented teachers, wonderful fellow actors and lifelong memories.Now a drama producer, Muffy hopes to find young fledgling talent through this wonderful organisation.
Bronwyn Purvis and the Craving, 2006, cast and crew, shooting a promotional clip, photo: Giselle Haber (c)
Bronwyn Purvis, at atyp:
as actor –
Ritual, 22 Jun, 1999
Contact, 8 Apr, 2000
Birds, 23 Aug, 2000;
… as recipient of atyp LendLease Scholarship 2000, in 2001;
… as tutor –
Dads with a Difference, community event, 17 Mar, 2002;
…as Director –
Craving, 10 May, 2006.
When Bronwyn was at Grafton High School, she used take the 10-hour train to Sydney during the school holidays to attend atyp workshops. She moved to Sydney at 18 and became a regular workshop participant. She performed in the atyp productions Ritual (1999), Contact (2000) and Birds (2000). In 2002 she recieved the atyp Lend Lease Scholarship to travel to the UK to do director internships with Improbable Theatre, Volcano Theatre Company and the David Glass Ensemble. While in the UK, she worked as a video artist for Volcano Theatre Company’s Talk Sex Show (Edinburgh Fringe Festival & Germany Tour) and puppet maker/performer for Improbable Theatre’s Sticky show (Belfast Festival at Queens & London Thames Festival).
Upon returning to Australia Bronwyn worked as a film and theatre director; often working in partnership with marginalised communities to create work. In 2006 Bronwyn returned to atyp to direct the devised, multimedia show, Craving, 2006, with performers with and without disabilties. She continued to work in partnership with atyp as the Artistic Director of Outback Theatre for Young People in 2007, where she worked with over 100 young people in outback NSW to create a multi-media theatre production, Ties That Bind. In 2010 she was awarded the Kirk Robson Young Leaders’ award from the Australia Council for the Arts, in recognition of her exensive work in community cultural development.
Bronwyn’s other credits include: co-Director/Producer Drive (ABC TV, Sydney Film Festival, Melbourne International Film Festival), co-Director/Producer Drive In Holiday (Ten Days on the Island Festival), co-Director Love Zombies (Big hART), co-Director/Producer Radio Holiday (Melbourne International Arts Festival), Associate Director Stickybricks (Sydney Festival), Radio Holiday (Ten Days on the Island Arts Festival), Director Sleep Well (Big hART), Episode Director [email protected] (SBS TV), Director Pop’s Dream (Screen NSW: Winner, Bondi Film Festival, Winner, St Kilda Film Festival), Associate Director [email protected] (Melbourne International Arts Festival), Producer PZ1749-28 documentary (ABC Radio National), Director/Producer The Honeyeaters (Triple J Frame Breaks/Moonlight Cinema), Producer Up, Up & Away documentary (Down Syndrome NSW).
Bronwyn is now an award-winning film and theatre director whose work has been shown at national and international arts and film festivals. For the past 2 years Bronwyn has worked as a producer for the ABC, and is currently completing her Master’s by research, at the Australian Film and Television School.
Kathryn Atcheson (Rice) in atyp’s Romeo and Juliet, 1990, photo: Robert McFarlane.
I did two shows with atyp, as Kathryn Atcheson. I was the Nurse in Romeo and Juliet in 1990, and played various roles in The Caucasian Chalk Circle in 1991.
I count watching Angus Strathie accept his Oscar for costume design as one of the highlights of my career, because he had once designed a costume just for me.
Kate Rice studied acting at VCA, playwriting at NIDA and writing for short film at AFTRS. She has been commissioned by Curtin University, Deckchair Theatre Company, Agelink Theatre Company, Black Swan’s HotBed program, Barking Gecko Theatre Company, Darwin Theatre Company, Darwin High School and Corrugated Iron Youth Arts.
Her play The Dead Zone won an AWGIE in the Theatre for Young Audiences category in 2006. Her half-hour television comedy In the Swim was produced by SBS Independent in 2001, and she wrote for the children’s television series Trapped and Trapped II: Castaway in 2008 and 2009.
Kate was Writer-in-Residence at Deckchair Theatre in 2010, and the resulting play Sweetest Things will be produced in Brisbane by Vena Cava Productions in September 2012.
Kate is currently researching a PhD on the ethics of writing theatre about real stories.
Ricky Rojas and friends entertain the guests at atyp’s The Wizard Party, 1998.
Ricky Rojas at atyp:
Beyond the Game, 28 Apr, 1998
The Wizard Party, 12 Sep, 1998
Beyond the Game @ The NRL Grand Final, 27 Sep, 1998
Beyond the Game, 23 Sep, 1999
I was in the Musical Theatre workshop of Beyond the Game in 1997. It was the only theatre course I had done. As a result of this, I secured an agent. What I learnt at atyp under Shannon Dolan and John Gordon was invaluable.
I have been living in London now for the past 11 years and have been in numerous West End productions, and also a stint on Broadway!
Theatre includes: Actor/ Muso BBC Strictly Confidential (UK tour) 2013; Lead Vocalist New Jersey Nights (UK tour) 2012-2013; Kenickie in Grease (UK Tour) 2011-2012; Kool in Flashdance: The Musical (Shaftesbury Theatre, London 2010-2011); lead male singer in Burn the Floor (Shaftesbury Theatre London, Longacre Theatre, Broadway NY, New Zealand Tour 2009-2010); Pirate King in The Pirates of Penzance (Wilton’s Music Hall , London); Alternate Joseph/ Levi in Joseph and the Amazing Technicolor Dreamcoat (Adelphi Theatre, London 2007-2009); Sonny/ understudy Kenickie and Danny in Grease (UK Tour 2006 -2007); Joe Vegas in Fame: The Musical (Aldwych Theatre, London 2003-2005); Ritchie Valens in Buddy – The Buddy Holly Story (Worldwide, including Australia, New Zealand, Denmark, Singapore, Ireland, UK tour and Strand Theatre, London 2000- 2003).
Workshops: The Monster Bride (Brendan Cull), Blockbuster (Paul Nicholas), Zorro: The Musical (AKA productions), Raindogs (Andrew MacBean).
Recordings: Love Never Dies, Concept Album (Really Useful Group)
Television: Good Morning America, Broadway On Broadway, National Lottery, GMA
Any Dream Will Do (BBC)
Other credits include: The inaugural season of the Caribbean Princess, working with American choreographer Eartha Robinson.
Ricky is currently in rehearsals in NYC for the original cast of the Moulin Rouge musical, which opens in Boston in June, and heads to Broadway next year. He is playing the part of the narcoleptic Argentinian, Santiago.
Ricky is an accomplished singer/songwriter.
For more information please visit:
Daniel Knight and Chloe Schwank in atyp’s Beatrice, 2003, photo: Phil Sheather.
Chloe Schwank as an actor at atyp:
The Crossing, 25 Sep, 2002
Beatrice, 7 Oct, 2003
The Big Birthday Bash, (atyp 40th Anniversary party), part of the Beatrice ensemble, 23 Nov, 2003
The Windows Project – New Australian Music Theatre, 21 Sep, 2004,
… as a Dramaturgical Assistant:
The Crossing, 25 Sep, 2002
… and as a translator:
Threesome Without Simone, by Kristo Sagor, 17 Apr, 2004.
Chloë graduated from the Actors College of Theatre & Television (ACTT) in 2007.
Her theatre experience includes Helena in A Midsummer Night’s Dream and Luciana in The Comedy of Errors (Shakespeare by the Sea), Julius Caesar (Anthony Skuse), W;t and Cosi (New Theatre), Mongrels and Roberto Zucco (ACTT), Beatrice (atyp) and roles in short plays for Word Travels, Dinner with A View Inc. and the Short + Sweet Festival.
Her screen work includes roles in online sketch horror series Watch With Mother (The Glue Society), several short films including Taser (Chesterfilm), Sarah Sloane: The Rash (Curl Co Productions), Painful Poetry (Santa Shorts Productions) and Boss Assassins (AFTRS) as well as TV drama Out of the Blue.
Chloë’s writing includes a short play Playing Dirty, performed at Short + Sweet 2005, and English translations of German plays, Threesome Without Simone by Kristo Sagor, performed at atyp and I’m Sorry Dad But I Have To, by Laura Naumann, which was published in Europe in 2011.
Chloe is a proud member of Equity.
I joined atyp when I first arrived in Australia in 2002. I participated in many workshops from clowning to musical theatre to audition preparation workshops and also acted in the following productions: Beatrice by Louis Nowra, The Windows Project, directed by Jason Langley and The Crossing, directed by Melissa Bruce.
I translated Threesome Without Simone by Kristo Sagor, from German into English, for performance at atyp.
I found atyp extremely useful and fun. It provided me with a group of friends in a new city, helped me develop my acting and performance skills and inspired me by taking young people’s theatre, and therefore also my fledgling acting career, seriously. In fact many of my friends and my husband all cherish their time at atyp as being formative in their careers and lives. In Europe, I had never experienced a forum where young people can learn directly from industry professionals in quite a demanding and professional environment, and I loved it.
I’m still an actor. I graduated from Actors College of Theatre & Television in 2007, and have been acting in theatre, short films and a tiny bit of TV, since. I’m also currently training in voiceover, and translated another German play which was published in Europe last year.
The best thing I have EVER seen on stage was in 1996 or 1997 at the Vienna Festival, and it was a Robert Lepage / deus ex machina production called Hiroshima – The Seven Streams of the River Ota. It was a seven-hour-long play (with 3 intervals), with each scene lasting an hour and acted in a different acting style (i.e. naturalistic, butoh, melodrama, French farce), or with different performance elements (dance, opera, video, live jazz). The lives of the large cast of characters in the separate scenes were intertwined in many surprising ways and some of the same props and costumes were used in separate scenes in different ways so they were imbued with multiple meanings. When the actors came out on stage for the curtain call I was surprised by how small a cast had convincingly peopled the stage with so many distinct characters. One of the actors, Marie Brassard, convincingly played a young Jewish girl (speaking in German), an old Japanese woman (speaking in Japanese) and a young French woman (speaking in French). I still have the program for that play – it was pure theatre magic!
My advice is to try every aspect of theatre. As it’s a collaborative art I think it’s best to experience every role so you have an understanding of each element of a performance. Also the additional skills are often useful when one is involved in independent theatre. I have worked as a stage manager, translated plays, written a short play, operated lights and sound – including a follow spot (much more difficult than it looks) – played in a band for a musical, designed costumes and flyers, and painted and built sets. Try everything and enjoy yourself!
Laura Scrivano, Director, and Kim Ho, Writer and Actor, during the shoot of The Language of Love, 2013. Photo: Dan Prichard (c)
Laura Scrivano’s career at atyp:
Pat Sabatine’s Eighth Birthday Party, and Blind Girl’s Play (Reclaim the Stage), 2001, Stage Manager
Puntila and His Man Matti, 2004, Assistant Director
H is for Hoodie, 2006, co-Director
The Chicken or The Egg (Three Little Fears), 2006, Director
Little Love, the original monologue, (film), 2012, Director (atyp Fresh Ink, The Voices Project, 2012)
Boot, the original monologue, (film), 2012, Director (atyp Fresh Ink, The Voices Project, 2012)
The Language of Love (film), 2013, Director (atyp Fresh Ink, The Voices Project, 2013)
Laura Scrivano is a writer and director for film, television and theatre. Born on the NSW South Coast, she is currently based in Sydney.
She is the winner of the 2013 European Union Film Award for her short film The Orchard, starring Alex Dimitriades, and was nominated for Best Director and Best Screenplay at St Kilda Film Festival for her short film Ricochet, starring Daniel Henshall. Recently she directed The Language of Love, for atyp’s The Voices Project, which has had over 125K views online from around the globe.
Laura’s shorts have been officially selected for festivals both nationally and internationally, including St Kilda Film Festival, Cinema des Antipodes at Festival de Cannes, Cyprus International Film Festival, Hollyshorts and Budapest International Film Festival.
She has directed or associate-directed productions for Sydney Theatre Company, Belvoir, Hoipolloi (UK), Opera Australia, Bell Shakespeare and the Australian Theatre for Young People.
Laura holds a BA in Media Arts and Production from UTS, and recently completed the Graduate Diploma in Directing, at the Australian Film, TV and Radio School (AFTRS).
Laura has a passion for high-concept, bold visual storytelling, as well as a deep love of working collaboratively with actors. She is currently in post-production on a music video for neo-soul newcomer Okenyo, and developing a number of long-form projects.
Annabel has Post-graduates in Arts Administration and Marketing & Finance to partner her BA from Canterbury University.
A New Zealander, Annabel has been a Sydney-sider for most of her working life including working in Advertising & Brand Agencies, as well as a Marketer for brands such as Air New Zealand (Australia) and SBS Television.
She has also worked on projects and internships for a number of arts organisations including the Edinburgh Fringe Festival, Sydney Biennale, Christchurch Public Art Gallery, and GRANTPIRRIE Art Gallery Her key interest is in evolving brands and building audiences, especially those that contribute valuably to our communities.
Annabel was the atyp Marketing Manager from July 2013 to July 2014.
Cast of All Stops Out, 1989: bottom, l-r, Daniel Davies (replaced for this production by Simon Stokes), Thomasin Litchfield, Christopher Tomkinson, Morgan Lewis, Toni Collette. Top, l-r, Melaine Hickson, Luke Cross, Virgina Gillard.
Christopher first turned up at atyp in about 1986 and threw up from food poisoning [Thank you, Cheeseburger]. It wasn’t a great start but it just got better from there. Classes and shows and friends that are still my closest today.
His first play with atyp was Ned Kelly and the City of the Bees, 1987, at the Opera House. Then a couple of devised shows made in classes before Burger Brain – the Fast Food Musical, 1988,[where the only cheeseburger was one he waxed his surfboard with], Spring Awakening, 1989, All Stops Out, 1989 [which toured the UK] and then A Midsummer Night’s Dream, Henry V, 1994 and The Hour We Knew Nothing of Each Other, 1995.
So in the 90s Christopher went off to the Western Australian Academy of Performing Arts and on return began working with STC, Bell Shakespeare, Ensemble and a variety of other companies, including his own production company.
While working as an actor in Shakespeare, contemporary plays and musicals as well as the occasional spot on TV, Christopher has been working at the atyp as a workshop leader and director of scripted and devised works. Where he has made a raft of new friends.
Christopher’s play The Orphan’s Orchard has just been published in South Africa, and he is the director of The Teenage Alchemist, a play developed by atyp and produced by the kids’ cancer charity Camp Quality, which toured NSW.
atyp has shaped my life and taught me so much about myself and the wonders of the world. It has given me so much and I love being able to give some of that back to other folks.
Richard Kessell and Alexandra Vaughan in atyp’s Skate, 2003, photo: Phil Sheather.
atyp provided an unforgettably wonderful, inspiring and supportive environment for me for 8 years as a young actor/performer. I have such fond memories of my time at atyp and have made many dear, life-long friends through the company. As for the opportunities provided – I even got to travel with some of these friends to Belfast when we performed Debra Oswald’s Skate abroad!
The company truly was a launching pad for many of my friends, who’ve gone on to pursue professional careers in the arts and entertainment industry in Australia and abroad, as actors, singers, dancers, directors, designers and crew. Most importantly, atyp isn’t just a place for young people wanting to pursue a professional career, it’s also a safe haven for young people wanting to play, experiment, explore and develop their self-confidence and self-esteem. I had a BALL!
Alex inherited her first film SLR at the age of sixteen from her dad, but her photography pursuits were temporarily sidelined for a career in the performing arts. Notably, she toured to Belfast with the Australian Theatre for Young People, starred in the cult Australian movie Lost Things and was one of two artists selected for a year-long residency at Shopfront Contemporary Arts Centre.
Her passion for photography was re-ignited when experimenting with new techniques documenting her performance progress. This evolved into several series of photographic works exploring sexuality, power, and the female form in a theatrical style. With a foundation of story telling, Alex set out to revolutionise the way actors’ portraits were taken in Australia. In the years since, she has developed a signature style and had her work and philosophies published in industry magazines and online publications.
She has a strong client base in Sydney and regularly travels interstate to photograph actors, directors and creatives, film stills and theatrical productions. Most recently Alex was the official photographer for the Prostate Cancer Foundation of Australia’s 2010 campaign, for which she took portraits of 30 high-profile Australian men, including Bert Newton, Les Hill, Gyton Grantley, Anthony Minichiello, Drew Mitchell, Kirk Pengilly, Axle Whitehead and John Waters.
My main involvement with atyp was when the company performed my play The Chicken Or the Egg as part of their 3 Little Fears season at the Old Fitzroy Hotel Theatre, in 2006.
Since then I have written several plays for Short+Sweet, and three longer plays which have yet to be produced.
I am an electronic musician hoping to compose some scores for theatre.
Travelling is one of my hobbies and I have been lucky enough to visit Europe three times. This is me in 2012 inside a KGB bunker in Moscow… seriously!
check out my tunes at:
Matthew Whittet’s career at ATYP, as actor:
Frankenstein’s Children, 6 Sep, 1991
Unforgiven, 10 Dec, 1991 (4 New Plays)
Dark Clouds and Chameleons, 10 Dec, 1991 (4 New Plays)
White Paper Flowers – the story of Tiananmen Square, 22 May, 1992
ID, 24 Nov, 1992
Mad Forest, 9 May, 1993
Anna Livia is a Whore, 23 Nov, 1994 (Hot Young things, Festival of Young People’s Theatre)
The Hour We Knew Nothing of Each Other, 1 Jan, 1995, and
as ATYP Fresh Ink mentor:
Fresh INKubator: 9 writers, 9 scripts, 24 hours, 19 Mar, 2009
Fresh Ink Young Writers’ Camp, 20 Jul, 2009
Fresh Ink Speed Date, 29 Nov, 2009.
I was involved with ATYP from 1990 to 1994. The first workshop I did was in early 1990 at the Old Sailors’ Home in George St, in The Rocks, which is now Sailors Thai. Back then it was an old abandoned theatre, taken over by a bunch of 14-year olds for two weeks.
At ATY I performed in seven shows… I think. Frankenstein’s Children, Group Devised Projects in Wharf 2, White Paper Flowers, I.D., Mad Forest, Hot Young Things (1994) and The Hour We Knew Nothing Of Each Other. It was a completely formative time for me. Not only did I learn about acting, but I learned about the possibilities of self-expression. I met people at ATYP when I was 14, who I am still working with in one way or another today.
At the moment I am working on a few projects. I’m currently in rehearsals for Old Man, a play I have written, at Belvoir. This is especially exciting as there are young performers in our cast who have come through ATYP.
The best thing I have ever seen on stage was a show in the 1998 Adelaide Festival. It was called La Tristeza Complice and it was by Les Ballets C de la B. They were from Ghent in Belgium, and used contemporary dance, street performers and 20 accordion players playing The Fairy Queen by Purcell.
My advice to young players wanting to take on the theatre world would be… educate yourself. See as many films and shows and read as many books as possible. You need to find out what you really like (not what you think you should). And most importantly, enjoy yourself. Working as an actor and theatre maker is hard work, and you have to apply yourself every day. But if you can find the balance between hard work and having fun, then it can be incredibly rewarding.
Since graduating from NIDA in 1997, Matthew has made his mark in his hometown of Sydney with performances in the Sydney Theatre Company productions of The Wonderful World of Dissocia, Metamorphosis, This Little Piggy, These People, Endgame, Fireface, Attempts on Her Life and Seneca’ Oedipus; for Company B: The Underpants, The Threepenny Opera, King Ubu, As You Like It and The Book of Everything; for Bell Shakespeare Company: Hamlet and King Lear. He has also worked with the Malthouse Theatre in Moving Target, Journal of the Plague Year / The Ham Funeral; for the State Theatre Company of South Australia in The Department ; and for Adelaide the Windmill Theatre.
Matthew is an accomplished writer and he recently wrote and starred in School Dance for Windmill Theatre and the Adelaide Festival. He also wrote and performed in his one-man show Silver, which had a successful run as part of Company B’s B Sharp season. And he wrote Fugitive, inspired by the stories of Robin Hood, which was commissioned and produced in 2010 by Windmill Theatre Company, Adelaide.
Matthew has appeared on television in Sea Princess, Sea Patrol, All Saints, Blue Heelers, White Collar Blue, Bad Cop Bad Cop, Changi, Backberner, Wildside and Water Rats.
His film credits include Moulin Rouge!, You Can’t Stop the Murders, Australia and The Great Gatsby. Matthew recently adapted a play he wrote for Windmill Theatre in Adelaide, Girl Asleep, to the screen, which has won 5 international and 3 Australian film awards.
Rebel’s atyp productions, as actor:
Beyond the Game, 23 Sep, 1999
Spurboard, 4 Nov, 1999
Birds, 23 Aug, 2000
Spurboard, 11 Oct, 2000
Edward 2, 8 Mar, 2001
The Massacre at Paris, 15 Mar, 2001
Songforce, 11 Jul, 2001
What the Umbrella Did Next, 19 Jul, 2003,
and as special guest speaker:
Behind the Red Curtain, 10 Sep, 2005
atyp Annual Dinner, 26 Oct, 2009.
Having trained at the Australian Theatre for Young People (atyp) and the famed US comedy school Second City, Rebel started her professional career in the theatre writing, producing and performing in the hit plays The Westie Monologues, Spunks, and Confessions of an Exchange Student in Sydney and Melbourne.
She then quickly moved into Australian television where she wrote and was the female lead in 52 episodes of the primetime sketch series The Wedge (Network Ten), developed and co-starred in five series of the Logie-nominated cult comedy show Pizza (SBS, which filmed in Italy, U.S.A., Australia and Japan) and she created, produced, wrote and starred in the musical television series Bogan Pride (SBS). Rebel’s other Australian television credits include: the improvised series Thank God You’re Here, City Homicide, Monster House and Talkin’ Bout Your Generation. Her stand-up comedy has been featured on the international television specials: Comic Relief, World Comedy Tour and The Breast Darn Show in Town, and in 2010 she co-hosted the ARIAS. Rebel won the Tropfest Best Actress award for her role in Bargain and has made notable appearances in the features Ghostrider, Fat Pizza and A Few Best Men, all filmed in Australia.
Rebel currently lives in Los Angeles. Her first job in the US was the Judd Apatow/Paul Feig smash-hit comedy Bridesmaids (Universal). She performs improv at LA’s Upright Citizen’s Brigade. Her US television credits now include: Rules of Engagement (CBS), Workaholics (Comedy Central) and Conan (TBS) and she is currently filming her own pilot for CBS called Super Fun Night. In 2012, Rebel will be seen in six US feature films: Pitch Perfect (a musical, co-starring with Anna Kendrick), Bachelorette (co-starring with Kirsten Dunst and Isla Fisher), What to Expect When You’re Expecting, Struck by Lightning (co-starring with GLEE’s Chris Colfer), Small Apartments and Ice Age: Continental Drift.
HAYLEY PEARL (NEE BUCKLEY)
Cast member of ATYP productions:
Puntila and his Man Matti, 2004
Magda’s Fascination with Wax Cats, 2006
Since attending ATYP, Hayley has been seen in Australian tv shows, All Saints, Headland and Cops LAC.
She has appeared in numerous national commercials and continues to work in theatre, both in Australia and in the United States. She moved to Los Angeles at the end of 2012, and has worked with Giovanni Ribisi and Jon Avnet.
After returning to Australia in 2017, she has been working on her own projects.
ATYP in collaboration with Theater an der Parkaue, Berlin, and Syney Festival created Kinderspiel – out of bounds, 2002, photo: Wendy McDougall. (Piece developed through a special web-site in which young performers from Sydney and Berlin shared experiences of the schoolyard. After three months, the casts came together in Sydney.)
Bec’s ATYP career as Stage Manager of ATYP productions:
The Yard, 26 Sep, 2001
In Exile, 30 Jun, 2005,
and as Assistant Stage Manager:
Outpatients, 10 Oct, 2001
Pat Sabatine’s Eighth Birthday Party, 10 Oct, 2001
Blind Girl’s Play, 10 Oct, 2001
Kinderspiel – out of bounds, 5 Jan, 2001.
Bec is a graduate of NIDA and has been working in production, stage and company management for the past ten years.
ATYP is where I found a home in the theatre. I called my first show and worked with international artists on a Festival event for the first time. My fellow classmates have gone on to become close friends and colleagues and leaders in their field. The professional network ATYP helped me establish is now the foundation for my career in the arts.
As Stage Manager: The Seagull and The End (Belvoir), Bloodland and Boy Gets Girl (STC), Clan, True Stories, Mathinna and Awakenings (Bangarra Dance Theatre), Already Elsewhere (Force Majeure), The Merchant of Venice (Bell Shakespeare), Three Furies and Through the Wire (Performing Lines), The Burlesque Hour (Sydney Opera House), Christopher Wheeldon’s Morphoses, KIN, Sylvie Guillem and The Ballet Boyz, The Anderson Project/Robert Lepage (Sydney Festival). As venue manager: for Aurora Nova (Edinburgh Festival Fringe) and most recently as the Creative Producer at Darwin Festival, (2009/10).
Bec was a 2011 recipient of an Asialink Arts Management residency in Hong Kong. She is currently Producer with Kate Champion’s dance-theatre company Force Majeure.
I went to ATYP from 1994 for several years. This experience certainly laid the already burgeoning foundations of my understanding of acting. I had acted in a few films as a very young girl, but it was only through attending ATYP in my early teens that I began to grasp the notion of being in a ‘company’, as even at that level, great care was taken in ATYP classes to include everyone. I hope I bring this inclusiveness and ensemble notion to my current work in The Residents at STC.
Alice is currently a member of The Residents, Australia’s premier actors’ ensemble at Sydney Theatre Company, under the direction of Cate Blanchett and Andrew Upton. For Sydney Theatre Company she has acted in The Mysteries: Genesis, Vs Macbeth, Backstage and The Comedy of Errors. For other companies Alice was seen in Arabian Night (Griffin), Pearlie in the Park (Monkey Baa) and The Merchant of Venice (Bell Shakespeare).
Alice’s Film and TV credits have seen her garner an AFI award nomination for La Spagnola and win Melbourne Underground Film Festival’s Best Actress award for Roseberry 7470. She has also had lead roles in many award-winning shorts, as well as working on All Saints (Channel 7) and Bogan Pride (SBS).
Jessica Bellamy and Joanna Erskine at the launch of The Voices Project, 2012: Short Films, Bat Eyes and Boot, at the Palace Cinema, Norton Street, Leichhardt, 27 March, 2012.
Jess Bellamy at ATYP:
Delegate at ATYP National Studio, 2010.
The Voices Project, 2011: Tell It Like It Isn’t – Little Love by Jessica Bellamy, 3 Feb, 2011 – monologue performed.
Voices Project, The 2012: Bat Eyes short film, March, 2012 – adapted by Jessica Bellamy from her original monologue, Little Love, and made into a short film, directed by Damien Power, and produced by Bec Cubitt .
The Voices Project, 2012: Bat Eyes and Boot Short Films Launch; Announcement of Rose Byrne as new ATYP Ambassador, 27 Mar, 2012 – Q&A during the launch.
I joined ATYP as a Literary Intern for 6 months in 2010, while completing a Grad Dip in Playwriting at NIDA. I was able to work with Lachlan Philpott on teaching 14-17 year old students of the Fresh Ink ensemble, and also helped with organising aspects of the National Studio at Bundanon. I was lucky enough to get a spot at National Studio, where I wrote a monologue, Little Love, that was included in the show Tell It Like It Isn’t. From there, this monologue was developed into a film with director Damien Power, through the Voices Project, and is currently vying for a Top 10 place in the YouTube Your Film Competition. You can even vote to get it there by going to WWW.BATEYESANDBOOT.COM/VOTEBATEYES.
My short but concentrated time at ATYP has been really exciting, and it has improved my skill set immensely. I gained confidence in writing monologues, was given the opportunity to write a screenplay, and also learnt more about tutoring playwriting to young people. This helped me to teach writing in other guises, such as through Riverside Theatre’s Workshops in the Arts for People with Disabilities program. I still await the results of the YouTube competition, but my life could be even more dramatically affected by winning a trip to Venice to showcase my film on a global stage!
I am about to finish a year-long attachment at Griffin Theatre Company as an Associate Playwriting Australia Playwright- in-Residence, which has been a fantastic learning experience and allowed me the chance to write for the Griffin show Lovely Ugly. I have a short play coming up in mid-July at Bondi Pavilion as part of their Bondi Feast festival, and am under commission from Canberra Youth Theatre. I am shortlisted for the ATYP Foundation Commission, and am awaiting results with fingers crossed. I will be undergoing a residency with Arena Theatre Company in October (with director Stephen Nicolazzo) for a new play called Hook Up.
The best thing I have ever seen on stage? It’s so hard to narrow this down. I see a lot of theatre, and I am always ready to give the production my open mind and heart, and hope that it will grab me emotionally. I love theatre that cares, and that wants to leave you with a strong feeling at the end, whatever that feeling is. In my early theatre-going I was blown away by Kate Gaul’s production of Svetlana in Slingbacks. Neil Armfield’s production of Waiting for Godot in the early-00s brought me such a full understanding of the text. I still can’t forget a touring production of Metamorphosis at Sydney Theatre Company, and the final few moments of beautiful lighting and sound design. I remember kicking and punching the air around me in excitement after Bryony Lavery’s Kursk, and don’t get me started on the use of language in Terminus. I am also inspired by my friends Lachlan Philpott (Truck Stop, Silent Disco) and Jane Bodie (This Year’s Ashes).
My advice to young people who want to take on the theatre world is to see lots of theatre, good and bad. Try to write all the time (even if what you’re writing feels like it’s going to be crap), and get good people to read it for you. Try to talk to other people in your situation, or a few years above you in the industry, to see what sort of things they worked on. Make friends, genuine friends, in the industry, so that opening nights don’t feel like you’re being publicly crucified. Work on productions in whatever capacity is available, if you want to learn more about theatre. (My time producing and stage managing was so important in helping me realise the nitty-gritty ways in which theatre actually happens). And find ways of nurturing your soul separate to all of this – dogs, the outdoors, pilates, whatever.
Jessica Bellamy is an award-winning playwright and a Griffin Theatre Playwriting Australia Associate Playwright for 2011-12. She holds a Graduate Diploma of Dramatic Art in Playwriting (NIDA) and Bachelor of Arts (Hons)(UNSW). In 2012 she worked as a writer and member of the core artistic team creating Lovely Ugly (Griffin Theatre). In 2011 she premiered Sprout at the Old Fitzroy Theatre (winner of the Rodney Seaborn Playwrights’ Award 2011). She was commissioned to write A Fourth of Nature (a play for 18 young performers) for the ACT Department of Education’s School Spectacular (nominated for 2011 Canberra Area Theatre award), wrote and performed Celebrity Healing for Canberra’s You Are Here Festival and Griffin Theatre’s Griffringe, wrote short plays for NIDA Open Programme, and had a monologue included in ATYP’s Tell It Like It Isn’t called Little Love. This monologue was adapted into a short film, Bat Eyes, directed by Damien Power, and has been chosen as a Vimeo Staff Pick, Short of the Week, and Top 50 finalist of YouTube Your Film competition.
She is currently working on a commission for Canberra Youth Theatre and undertaking a development with Arena Theatre Company in October.
Jessica has tutored playwriting for ‘Workshops in the Arts for People with a Disability’ through Riverside Theatres, and for ATYP. Other work includes Fast Kill and Bill (Griffin Theatre Playoffs 2009/10), and short screenplay Hirsute (Melbourne Underground Film Festival 2010), as well as collaborating on a writer-led Griffringe project, A Very Crappy Christmas.
ATYP staff in 2002: (back, l-r) David Berthold (AD ATYP), Timothy Jones, Michael Huxley, Aaron Beach, Jessica Read-Brain; (front, l-r) Jessica Symes and Jessica Machin.
David Berthold’s career as ATYP Artistic Director, required master class tutoring, presenting at National Studios, and directing productions, including:
Spurboard, 6 Nov, 1999 (ATYP, in assoc. with STC Education Programme)
The Dance of Jeremiah, 3 May, 2000
National Studio, 1 Jul, 2000 (First National Studio, at Araluen Arts Centre, Alice Springs)
Birds, 23 Aug, 2000 (ATYP, in assoc. with Sydney 2000 Olympic Arts Festival)
Spurboard – tour, 11 Oct, 2000
Edward 2, 8 Mar, 2001
The Massacre at Paris, 15 Mar, 2001
Kinderspiel – Out of Bounds, 05 Jan, 2002 (ATYPin collaboration with Theater an der Parkaue, Berlin, and Sydney Festival)
Sparkleshark, 22 Apr, 2002
National Studio, 18 Jul, 2002 (Glen Helen, NT)
Hamlet, 8 Oct, 2002
atyp Foundation Launch, 15 Feb, 2003
Brokenville, 28 Jun, 2003
Brokenville – UK tour, 17 Jul, 2003 (ATYP’s contribution to the National Theatre’s Shell Connections festival. First Australian company, and the only company from outside the UK and Eire, to be invited to perform at the culminating celebration.)
David Berthold is the Artistic Director and CEO of La Boite Theatre Company in Brisbane, Australia. He took up the position in November 2008.
He is one of Australia’s most prominent theatre directors and has directed for most of Australia’s major theatres companies, as well as internationally. He was Artistic Director of Sydney’s Griffin Theatre Company (2003-2006), transforming it into Australia’s leading new writing theatre and one of the nation’s most visible and successful arts companies; Artistic Director of the Australian Theatre for Young People (1999-2003), building the company into Australia’s flagship theatre for young people – and the world’s largest – with many national and international collaborations; Associate Director of Sydney Theatre Company (1994-99), Australia’s premier theatre company; and Artistic Associate of the Queensland Theatre Company (1991-94). He was the Festival Director of World Interplay 2007, the world’s largest festival of young playwrights.
David has kindly agreed to ATYP re-printing his Carving in the Snow blog post of Sunday, March 10, 2013: Nicole Kidman and my knee.
Nicole Kidman placed her hand on my knee. I blushed. She said to relax and not to worry. We were in her trailer at Fox Studios during filming of Baz Luhrmann’s Moulin Rouge, just shortly before Christmas 1999. Kim Williams, then head of Fox Studios, was also there, along with Angela Bowne SC. Who knew what would happen? Nicole then put her money on the table, and asked Kim to match it. Kim immediately did, but then to his continuing credit offered to call David Leckie, then head of the Nine Network, asking that Nine match it too. Kim was true to his word, as ever, David happily agreed, and then a few days later the Australian Theatre for Young People had close to half a million dollars over three years.
I recalled this moment at the 50th Anniversary gathering of ATYP at The Wharf in Sydney on 23 February. It was a moment that enabled transformation. I had been appointed Artistic Director of ATYP earlier that year and knew of the challenges facing a company that needed, and was inviting, change.
The Board had asked me to look into a particular possibility: that the company live up to the promise of national reach inherent in its name. It’s difficult to make anything in Australia national – geography is tyrannous – but ATYP has had that promise embedded in its very identifier since 1963.
We went about meeting the challenge in a few ways. Why don’t we ask 30 youth arts companies from right across the nation, from small regional towns to capital cities, to each send a young artist to something we’d call the National Studio? There they’d meet and work with some of the best professional artists we could muster. Where better to hold the event than in the middle of the country?
It was a bold idea, but sometimes bold is best. In the first year, we grouped in Alice Springs, and then in the few years after that we met at Glen Helen Gorge, about 130 kilometres from Alice Springs, in the western reaches of the West MacDonnell Ranges on the banks of the Finke, the world’s oldest river. Nick Enright, Meryl Tankard, Deborah Cheetham, Kate Champion, Benedict Andrews, Gideon Obarzanek and many other artists of the highest calibre joined us for ten days of free and creative collaboration in the Australian desert. Thanks to Qantas and Coca Cola Amatil, we were able to make the event free. For many of these young people, and for one or two of the artists, it was the first experience of the ineffable wonder of Central Australia.
To be national in Australia also means to be regional. So we created a raft of long-term creative residencies in the Pilbara in WA, in the Northern Territory, in Walgett in Far West NSW, in the Upper Hunter of NSW, and in Tasmania. For sometimes months on end, and returning annually, resident artists encouraged communities to better understand and enjoy the connections between the arts and living.
To be national also means to be international. So we made a production with Theater an der Parkaue in Berlin – ermany’s largest theatre for young people – which resulted in a fascinating event at the Sydney Opera House as part of Sydney Festival. We forged a close relationship with the National Theatre’s International Connections project in London. This saw an ATYP production invited to London’s NT, and then an NT Young Company production head to the SOH.
These were remarkable days. About 6,000 young people aged between three and 26 engaged in our work every year – that’s not audiences, that’s young people doing things. My own memories though, which I shared on that anniversary weekend, are tied up with people, not projects. That’s often so in life. I remember, in particular, three extraordinarily driven women – Carolyn Fletcher, Popsy Albert and Angela Bowne – who encouraged me to believe. I remember the friends I made, bright young people, now into their 30s, who remain some of my very closest, and still bright, companions in life and art.
Long may ATYP prosper.
Matt Boesenberg’s career at ATYP:
…as an actor –
Spurboard, 4 Nov, 1999 (in association with STC Education Programme)
Spurboard – tour, 11 Oct, 2000
Macbeth, 5 Jul, 1997
Troilus and Cressida, 28 Sep, 1998;
one of the five 1998 winners of an ATYP and Lend Lease scholarship, to participate in an international arts exchange program.
I have wonderful memories of my time at ATYP. It was always a place I could go to express myself, learn about acting and most of all have fun! My best memories (apart from workshops) were of the productions I was involved with and the people I met. Macbeth (1997) was a stand-out (directed by Neill Gladwin) where we performed in an empty shed down near Darling Harbour. The set was made from piles of dirt, burnt railway sleepers and it even rained inside (thanks to a sprinkler system)!
I was also lucky enough to receive a scholarship through ATYP to go and study in NY at the Atlantic Theater Company. That was the foundation of my acting career right there!
It was also amazing to be involved with Spurboard (written by Nick Enright and directed by David Berthold, 1999). We toured the show (about rodeo riders and their families) through country NSW and had the time of our life. The local audiences were wonderful to meet. Nick was also highly collaborative with the script development and it was great to be a part of that.
Since then I have focused more on film and television. I love working with the camera. After several guest roles on various shows, my most recent role was on Underbelly Razor, as Snowy Cutmore. That was a real gift of a role! I was fortunate enough to get my first Logie nomination for the role in the category of Most Popular New Male Talent.
My advice to young performers would be to follow your instincts. No one can teach you that and nothing is more valuable! I would also encourage them to do what they are passionate about.
Where to from here? Off to LA for a pilot season, so who knows? The beauty of being an artist is that I’ve learned to make uncertainty my friend. I plan to come back and continue to tell Australian stories. I have a young family here, and I think our kids should know all about Australian history. I also think I’d like to play a dad on screen. I think we need more good male role models in the community. I’d love to be a part of that!
Leigh Scully, Kit Brookman and Julian Dibley-Hall in ATYP’s Threesome Without Simone, 2004, photo: Nicholas Dare.
Kit attended his first ATYP workshop in 2001, and subsequently appeared in a number of ATYP productions including:
The Yard (2001)
Threesome Without Simone (2004)
The Musicians (2004)
He went on to study acting at the National Institute of Dramatic Art (NIDA), graduating in 2008.
Since graduating, Kit has worked as an actor and writer in theatre and television. He has appeared on stage in Twelfth Night (Bell Shakespeare Company), A Midsummer Night’s Dream (Bob Presents/B-Sharp), DNA (Spiky Red Things/TRS), and on television in Micronation.
As a writer, Kit’s play Close was shortlisted for the Patrick White Playwright’s Award and the Griffin Award, and will be produced by nowyesnow in 2012. Heaven was presented in 2011 at the Old 505 Theatre.
Kit was shortlisted for the 2011 Inscription/Albee Foundation Award.
Kit is currently an Associate Writer at Belvoir St. Theatre.
ATYP’s Lucky, 2002; Set and Costume Design by James Browne, photo: Phil Sheather.
I was the set and costume designer for Toby Schmitz’s Lucky in 2002, directed by Tim Jones. It was my first show in Sydney after I graduated from WAAPA in design in 2001. ATYP gave me an opportunity to show my work to the Sydney industry and make friends with industry professionals. WAAPA is so far away that no one from over East gets to see your work live, so it was a great experience and opened some great doors.
I am currently working on the Certified Male national tour with Glynn Nicholas, and Trevor Ashley’s next production, TrAnnie, at the Opera House.
Inspirations: Royal De Luxe street theatre performance Parfum D’Amnesie was life-changing for me as a child. A Matter of Life and Death at London’s National Theatre was achingly brilliant and the design for Love Never Dies blew my hair back.
To young people who want to take on the theatre world: Find what you love and what you are good at. Chances are there will be an audience for you. Don’t give up and keep pushing forward no matter what.
James graduated from the Western Australian Academy of Performing Arts (WAAPA) in 2001 with a degree in Set and Costume Design, before attending the Australian Film Television and Radio School (AFTRS) in Art Direction.
He has designed in all facets of the field in theatre, film and events. James designed the sets for the Love Cooking Festival in London as well as Jamie Oliver’s live stadium show in Melbourne and Rick Stein’s show in New Zealand. Event designs include the Prague Castle for the Visa Board Dinner, the Australian Jockey Club in 2007 and various floats in the Sydney Mardi Gras Parade. James has worked on television shows such as Survivor, All Saints and Australian Idol.
James designed a development production of Faust for the Sydney Theatre Company and costumes for New Breed for the Sydney Dance Company. Other theatre design credits include Love Bites, Fat Swan, Side by Side, Ordinary Days, The Last 5 Years, the Singapore Theatre Practice, Iota, NIDA, the Human Nature Motown National Tour, and Just for Laughs at the Sydney Opera House starring John Cleese. James was Associate Designer on Graeme Murphy’s Aida for Opera Australia and Stuart Maunder’s SHOUT! James’ set for Reg Livermore’s Turns (national tour) was nominated for the 2012 Greenroom Awards.
James has been the resident designer at the Australian Institute of Music for five years working with music theatre students on their major productions, as well as mentoring and teaching students and teachers in design.
James has recently designed for David Campbell’s Let’s Go national 2012 tour. Currently James is working on Glynn Nicolas’ remount of Certified Male, which will tour nationally, a development production of Faust with Performing Lines and a new ballet work with the Australian Ballet.
Later in the year James will be working on Trevor Ashley’s next production, TrAnnie, at the Opera House.
A portfolio of James’ design work can be viewed at his website, WWW.JAMESBROWNEPRESENTS.COM
Michela Noonan, Juliet, and Mitchell Butel, as Friar Lawrence, in ATYP’s Romeo and Juliet, 1990, proof sheet photo: Robert McFarlane
As an actor, Mitchell Butel’s productions at ATYP are:
Burger Brain, the Fast Food Musical, 1988,
Romeo & Juliet, 1990,
and he appeared as a performer at Behind the Red Curtain fundraiser for Baz Luhrmann’s investiture as ATYP Ambassador in 2005.
Mitchell’s theatre credits include Meow Meow’s Little Match Girl (Malthouse/Sydney Festival); A Life in Three Acts (Sydney Festival); Summer Rain, Harbour, The Republic of Myopia, Mourning Becomes Electra, Tartuffe, Two Weeks with the Queen, Dead White Males, The Café Latte Kid, Summer of the Aliens, Six Degrees of Separation (Sydney Theatre Company); The Grenade, The Madwoman of Chaillot, Tomfoolery, Urinetown, Piaf (Melbourne Theatre Company); Stones in his Pockets, The Venetian Twins (Queensland Theatre Company); Othello (Bell Shakespeare); The Adventures of Snugglepot and Cuddlepie, The Laramie Project, A View from the Bridge, Dead Heart (Company B Belvoir); Unidentified Human Remains and the True Nature of Love (State Theatre Company SA); Laughter on the 23rd Floor (Ensemble Theatre); Mad, Bad and Spooky (Theatre of Image); Blue Remembered Hills (O’Punsksky’s); Boeing Boeing (Dainty/New Theatricals) and Woyzeck (Malthouse).
Music theatre credits include the roles of Princeton and Rod in Avenue Q (Arts Asia Pacific); Assassins (Silo Theatre, NZ); Kismet, Sugar, Little Me, Oklahoma, Hair (The Production Company); Dusty (Dusty Productions); Man of La Mancha (Gordon Frost/SEL); Grease, Saturday Night Fever, Little Shop of Horrors (David Atkins Enterprises); Elegies (The NIDA Company); The Beggar’s Opera and Dunstan and the Devil (Opera Australia); The Fantasticks (Newtown Actors Group); Follies and Bernadette Peters in Concert (Sydney Opera House).
Mitchell has appeared in three solo cabaret shows, Mitchell Butel’s Excellent Adventure, And Now for the Weather and Killing Time for the 2010 Adelaide Cabaret Festival (which is available on CD), and is the voice of the Playschool theme song.
Feature film credits include Gettin’ Square, The Bank, Strange Fits of Passion, Dark City, Virtual Nightmare and Two Hands.
TV credits include Stephen King’s Nightmares and Dreamscapes, MDA, Grass Roots, Wildside, Murder Call, All Saints, Twisted Tales, Close Ups, Bordertown, GP and he fixed the Big Red Car in The Wiggles’ Toot Toot.
Mitchell received Helpmann Awards for Best Actor in a Musical for The Venetian Twins and Avenue Q, Helpmann nominations for Little Me, Summer Rain and The Republic of Myopia, Green Room Awards for Hair and Piaf, Green Room nominations for Avenue Q, Little Me and Oklahoma, and AFI nominations for Best Supporting Actor in a Feature Film for Gettin’ Square and Strange Fits of Passion.
Last year, Mitchell appeared as Ko-Ko in Opera Australia’s The Mikado which is now available on DVD and CD.
Derek at age 14, way ahead of his time with that skinny tie.
Derek Minett joined ATYP in February 2013 as its Private Giving Manager with a brief to raise capital funds to support the company’s move to a new home.
He was the former Chief Executive Officer of North Shore Heart Research Foundation (now Heart Research Australia) from 2004 to 2011.
This appointment followed 8 years at UNSW where, in 1996, he was appointed Manager Development and Graduate Relations working with alumni and friends of UNSW to advance the University’s reputation and financial capital.
Derek has had considerable previous management and marketing experience in Sydney’s performing arts community where he worked to enhance the standing and success of companies like Musica Viva, Sydney Theatre Company, Opera Australia and Sydney Symphony Orchestra amongst government and corporate supporters and the ticket buying public. He was Box Office Manager at the Sydney Opera House 1973-1978.
His enduring interest in supporting the personal and professional development of young people began in his primary school years in his hometown, Ipswich, Qld, where the late Darbie Munro polished the rough diamonds of the local church choir into an award winning troupe.
Derek is an Executive Member (EMFIA) and former Director & Honorary Treasurer of Fundraising Institute Australia (2008-2012) and recipient of FIA Awards for Excellence (NSW Highly Commended 2007 & 2009 and NSW Winner 2011).
Derek was the Private Giving Manager from March 2013 to June 2014.
Ariane Campbell (left) and Aaron Ellis in ATYP’s Standing Room Only, 1997. Photo: Alan Lovell (c)
Ariane performed in the street-theatre production, Standing Room Only, directed by Julian Louis, which opened 26 Jan, 1997, in Circular Quay, and played there and in various CBD locations.
I began studying acting at ATYP with Julian Louis, Felix Williamson and David Berthold when I was 15 years old. I took a job at the cinemas on George Street to pay for my classes and to make real my dream of being an actor on screen. I remember being captivated and somewhat mesmerized by the studios and location – they are wonderful. ATYP gave me quality training, great stage experience, a strong introduction to working on camera and provided me the opportunity to work with excellent teachers, actors, Network Television and the Griffin Theatre Company. My ATYP training has held me in good stead for all the work I have done and am doing in New York. Thank you, ATYP!!!
Ariane Campbell is a conservatory-trained actor and thrice-produced playwright from Sydney, Australia, who now resides in New York. She will be featured in an upcoming episode of Veep for HBO, where she worked alongside Julia Louis-Dreyfus and Sarah Sutherland. This spring, Campbell is a featured model in Maybelline New York’s Modern Modern Mod and Rebel Chic campaigns, shot by Seth Hagenstein, and produced by Iced Media, where she worked with Dani Seitz.
An outstanding and versatile chameleon, Campbell graduated from the American Academy of Dramatic Art in New York City, where she was granted a full merit scholarship based on her exceptional audition for the legendary American Acting Teacher and Director, Jackie Bartone. Her roles at the Academy under the mentorship of Bartone include Electra in Euripides’ Electra, Raina in Arms and the Man by GB Shaw and Jane Banbury in Noel Coward’s Fallen Angels.
Campbell’s work in Australia includes Master Classes with Director, Kate Gaul, a lead role in Standing Room Only alongside Abbie Cornish, at the Australian Theatre for Young People, a featured role in Witness: the Murder of Leigh Leigh for the Channel 7 Network, and Intensive Study in Shakespeare, Stage and Screen, with Jennifer Hagan, Peter Mochrie and Timothy Elston at NIDA.
Campbell has written and produced three plays: Deep in It (Manhattan Repertory Theatre, NYC), Defences (Awarded an Australian Writers’ Guild Mentorship Award; Manhattan Repertory Theatre, NYC, The Griffin Theatre, Sydney, The Old Fitzroy Theatre, Sydney) and Welcome to Centrelink Hell (Newtown Theatre, Sydney)
A rock ‘n roll front-woman of note, Campbell is also a songwriter, singer and guitarist who is producing her first album with Koritni and Mastering Engineer, Ryan Smith (Aerosmith, Bon Jovi, AC/DC) at Sterling Sound in New York.
Heather Clark, aged 13, in a poetry recital.
Heather was Education Manager at ATYP from late 2010 until January 2014.
Drama is not a “bludge” subject! As a teacher for over fifteen years, Heather is passionate about Drama education. An ATYP alumna herself (when ATYP was housed over in the Rocks), Heather has pursued a career that seeks to empower and transform students through their study of drama. She has taught students from pre-school through to tertiary level (North Sydney Girls’ High School, Australian Catholic University).
She has worked in television (Underbelly 2, TVCs including ADT, AAPT, P&O, McDonalds, Expedia, Maggi, Qantas), and on stage with a particular emphasis on improvisation. As actor/facilitator with Playback Theatre Sydney for five years, Heather used drama to tell the stories of refugees, indigenous communities and corporate companies, government departments (Vodaphone, DOCS, Legal Aid, etc).
She founded and directed her own drama school (The Drama Hub) before filling the position of Education Manager at ATYP in 2011. Having worked in theatre both in the UK (Tron, Citizens Theatre) and in Australia, Heather is thrilled to be working in a company that represents the best of Youth Theatre on an international stage.
Chrissy Norford, aged 6
Originally from Canberra, Chrissy graduated from the Queensland University of Technology (QUT) with a Bachelor of Fine Arts (Dance) at the end of 2006. Since moving to Sydney in 2007, Chrissy has worked as a dancer for some of Sydney’s best independent choreographers including Narelle Benjamin, Anton and Frances Rings. Her time in Sydney has allowed her to expand her skills into the sector of Arts Management. Over the years Chrissy has worked for companies such as Performing Lines and Bangarra Dance Theatre and is thrilled to take up the position of Finance and Operations Coordinator for ATYP in 2015.
Australian-born Salvatore Coco has been an actor, singer, voice artist, master of ceremonies and entertainer for over 20yrs. Internationally recognised, Salvatore made his illustrious debut on Australian Television in 1993 as the witty wiseguy, schoolyard entrepreneur, Con Bordino, in the successful production of the television series Heartbreak High, and thereafter starring as the notorious enforcer of the Golden Mile, Harry “Hammer” Hamoud, brother and guardian to Sydney night club owner, John Ibrahim, in the winner of the 2011 TV Week Silver Logie for Most Outstanding Drama Series, Miniseries or Tele-movie Underbelly III – The Golden Mile. 2RN ABC National Breakfast Radio THIS WEEK ON YOUR TV critic, Sue Turnbull, in 2010 describeses Salvatore as “…a quite extraordinary actor of a standout performance – the Sean Penn of Australia”, for delivering a star performance in the Kings Cross-set drama series, Underbelly III – The Golden Mile.
From the early age of nine, Salvatore joined a theatrical institute where he was trained in acting, singing, dance and musical theatre, developing into one of Australia’s foremost performing artists.
Since his early years with ATYP, Salvatore sought to broaden his theatrical schooling by studying the realistic techniques of Konstantin Stanislavski, Sanford Meisner, David Mamet and Practical Aesthetics. With a solid education in acting, his ability to diversify and deliver a versatile performance style is a testament to his acting credentials to date.
His feature film credits prior to his debut lead role as the well-meaning if deluded Joey Grasso in Shirley Barrett’s Walk the Talk, included roles in Melina Marchetta’s Looking for Alibrandi, Dein Perry’s Bootmen and Gregor Jordon’s award winning Two Hands. With the release of Walk the Talk, critics raved about this Australian comedy set on the Queensland Gold Coast, that focused on the character, Joey Grasso,, a wide-eyed optimistic talent agent fueled entirely by self-help manuals.
“….thanks to Coco’s delicious performance, as a wonderful character, the type that Walter Matthau might once have portrayed.”
David Stratton, Weekly Variety
“….Coco, in a splendid performance – all wide eyes, relentless jabbering and repressed tension – is a great example of the importance of playing even the most sarcastic comedy perfectly straight.”
Adrian Martin, The Age
“Salvatore offers just the right combination to create a complex character.”
Andrew L.Urban, Urban.cinefile.com
2012 – Salvatore performed at the 11th Short+Sweet theatre festival in the pond by Con Nats. Salvatore with co-star Ro Dempsey delivered a series of magnificent performances which swayed the judges to make the pond their top pick of Week 6 of the festival which will see the pond at the Gala Night of Short+Sweet March 30th & 31st, 2012 at the Seymour Centre, Sydney. Not only did it win the judges’ vote it ran 3rd in the Popular vote by the audience.
Rachael Coopes has worked in theatre, film and television since 1993. Her television work includes series leads and semi-regulars in SBS cult comedy Life Support, Channel 7’s All Saints, David Williamson/ABC’s Dog’s Head Bay and most recently, Channel Nine’s McLeod’s Daughters. Guest roles include shows such as White Collar Blue and The Secret Life Of Us. Feature film work includes Billy’s Holiday and Sirens. Theatre work includes The Decameron at the Old Fitzroy and the Lee Lewis production of Stoning Mary at the Stables last year.
She won the Ian Potter Cultural Trust and Marten Bequest Scholarship and spent two years in Paris, studying with the famous French master of Clown and Bouffon, Philippe Gaulier, devising work and performing shows with Gaulier students from all over the world.
She returned to Australia in 2008 to play vet, Ingrid Marr, in McLeod’s Daughters, and performed in the Lee lewis production of Stoning Mary at Griffin.
She has been teaching at ATYP since her return and absolutely loves it. Being an ex-ATYP student herself, she is eager to share all the skills she learnt in Paris, and all the information you can only learn from working in the industry. Her first play Art House was produced at The Old Red Lion Theatre in London and at the Edinburgh festival last July and August, by award-winning English company, Tangram.
Damien Power (Director, The Voices Project 2012: Boot and Bat Eyes short films), Bec Cubitt (Producer, The Voices Project 2012: Boot and Bat Eyes short films), Jess Bellamy (Writer, The Voices Project 2012: Bat Eyes short film), and other finalists of the YouTube Your Film Festival, in Venice with actor, Michael Fassbender (centre, back row).
Passionate about storytelling, Bec is a producer focused on collaborating with writers and directors to bring engaging stories to a broad audience. After an extensive marketing campaign, Bec’s short film Bat Eyes, produced in association with ATYP was recently voted by a global audience into the finals of the inaugural YouTube Your Film Festival. It was then screened at the 2012 Venice International Film Festival to a jury including Ridley Scott and Michael Fassbender.
In May 2012, Bec completed a professional internship with Heather Ogilvie, one of Australia’s leading feature film producers at her company Galvanized Film Group. This internship was supported by Screen Australia through their Talent Escalator program which aims to develop the skills of emerging producers through mentoring.
Her previous roles include Post-production Supervisor and Co-ordinator at post-production houses, Cutting Edge and FSM where she worked on many of Australia’s biggest feature films, and as Assistant Producer at Red Carpet Productions, where she was also Post-production Supervisor on the feature, Accidents Happen. Bec has produced short films Big Trouble, Little Fish, which premiered in competition at Flickerfest 2010, and A Light Touch, with Executive Producer, Troy Lum of Hopscotch Films, which recently premiered in competition at the Cockatoo Island Film Festival 2012.
Catherine Daniel bitten by the acting bug in ATYP’s Contact, 2000, photo: Aileen Yap
Catherine Daniel was a cast member of the following ATYP shows:
Standing Room Only, 26 Jan, 1997
Macbeth, 5 Jul, 1997
The Cosi Project: a performance intensive, 22 Jun, 1998
Contact, 8 Apr, 2000
Birds, 23 Aug, 2000,
Catherine has also worked as an ATYP Circus workshops’ tutor. In 2004 she co-directred and co-devised Break’In with Conrad Page on the 27th of June, 2004 (presentation which was a culmination of Circus course, BreakNeck, with juggling, trapeze, acrobatics).
I attended ATYP for the very first time in 1994. I loved every moment of my time at ATYP. I attended workshops with industry professionals from all over the world. I was involved in productions from Shakespeare to Physical Theatre. I even did my first paid gig through ATYP!
In 1996 I enrolled in the Circus and Physical Theatre workshops, and the course of my life would change forever. I still did many many, many, many Acting, Acting for Camera, Voice, Movement, Shakespeare and Monologue classes, and shows which weren’t circus-based, but I also nurtured my passion and desire for physical theatre and circus.
Most recently I taught, directed, and was the project head of, a Social Circus Project in Nairobi, Kenya. It was a great success. In the four weeks during which my principal role was directing, I realised how much I had learnt at ATYP, but wasn’t conscious of, about stage craft, stage balance, flow of a show, characters, entrances, exits, through lines, polishing, not being precious about what doesn’t work, the cumulative nature of theatre, the symbioses and importance of each individual element, how to make each person look the best they can be so that the show is the best it can be!
Here are links to the Project:
Assistant Director, Jessica Tuckwell, Janet Diane and Freya (Madelaine) Desmarais in ATYP’s Craving, 2006, photo: Giselle Haber.
I moved to Sydney from New Zealand in 2004 and was keen on acting so I got involved in after-school classes. These taught me so much – I was at a real advantage. I learned the fundamental principles of drama, improvisation and story-telling that still help me today.
In 2006, in my final year of high school, I was in the production Craving in the Richard Wherrett Studio, Sydney Theatre, directed by Bronwyn Purvis and assistant-directed by Jessica Tuckwell. Again, here, I learned so much and had so much fun in the process as well. It was a wonderful production and I’m still really proud to have been a part of it.
Not only did I learn a lot and have fun through these experiences but I was utterly inspired by my interactions with ATYP, and have no doubt that it sowed the seeds for my life-long love and passion for theatre.
I moved back to New Zealand at the end of my HSC to study Film, Theatre and Gender and Women’s Studies at Victoria University of Wellington. During my theatre degree I became interested in writing and directing, and wrote and directed my first show, There’s So Much To Live For, at BATS Theatre in Wellington for the 2011 Fringe Festival.
In August 2011 I produced and wrote the segment The Girls for 6 Little Plays 4 Christchurch, an initiative I organised, where heaps of people in the New Zealand theatre community came together to write, direct and perform new New Zealand work, with all of the proceeds going towards the Red Cross Earthquake Appeal for Christchurch. I’m pretty sure I was influenced by the atyp 3 Little Fears in the naming of that one!
That same month I was also Assistant Director on Hearts Encoded, a part of the Young and Hungry Festival of New Writing.
In addition, I directed an excerpt from Caryl Churchill’s Vinegar Tom at Studio 77 in Wellington that year.
This year I am writing, co-directing and performing my new one woman show, Home / The Hilarious Comedy of How I Nearly Killed Myself / A Play About How I Nearly Died But Didn’t Then Learned A Lot About Life Afterward, touring the Auckland and New Zealand Fringe Festivals. I intend to move to Auckland once this is finished and start to focus on comedy writing and performing, hopefully moving into some television and more theatre work.
I wouldn’t have been able to achieve any of these things to such a standard without the learning from ATYP that grounds all of my theatrical endeavours. In fact, my theatre company, Hungry Mile Theatre, that produces all of my work, is named after the very place where my love of theatre began – The Wharf and Hickson Road!
The best thing I have ever seen on stage? That’s a really hard one. I really clearly remember seeing 17 at ATYP and being really inspired by it. Request Programme at STC a couple of years after really floored me in a completely different way.
In New Zealand I’ve seen some really great work as well, but I wouldn’t be able to name a favourite. The Intricate Art of Actually Caring is a great show by a Wellington collective. I have favourite theatre companies though – my accomplice and Binge Culture Collective in Wellington are awesome, as is Trick of the Light.
My advice to young people who want to take on the theatre world is the sooner you learn that theatre is a collaborative art, the better.
It’s okay to be confident but don’t be arrogant, you’ll only make a fool of yourself. The difference between them is confidence, where you think you’re great and others are great. When you’re arrogant there’s no room for anyone else. You’ll end up a bit of a nigel, no mates in the end, if you subscribe to that.
Help each other out. Give each other a hand. Share your learning and experiences in a generous and kind way. Realise the power that theatre can have and embrace it. Love what you do.
Hannah Pollard in ATYP’s Desiree Din and the Red Forest, 2010, set designed by Tobhiyah Feller,
photo: Alex Vaughan.
Tobhiyah as Set Designer (and Costume Designer) for ATYP productions:
This Territory, 8 Mar, 2007
Battlegrounds, 5 Feb, 2008
Bustown, 25 Sep, 2009 (also Costume Designer)
The Laramie Project, 11 Mar, 2010
Desiree Din and the Red Forest, 18 Nov, 2010 (also Costume Designer), and
– as Design Assistant:
Stories in the Dark, 5 May, 2007.
‘…HAUNTING AND SEAMLESS…’ ‘…INVENTIVE…’ ‘…ATMOSPHERIC AND STRONG…’
Tobhiyah is a Sydney based designer specialising in Set and Costume Design for live performance.
My contemporary approach to Design is informed by a background in Sculpture and Installation Art, which I studied at CoFA, UNSW, prior to graduating from the NIDA design course in 2005.
I approach my design work with thorough attention to text analysis and research. I delve into the real and the metaphoric territory of a production to make informed and imaginative design choices. During my career to date I have developed strong working relationships with: Australian Theatre for Young People, Dept. Education and Training and Australian Academy of Dramatic Art, and have collaborated with directors: Iain Sinclair, Lee Lewis, Kate Gaul, Paul Viles and Fraser Corfield.
Professional design credits include; Anna Robi and The House of Dogs (Old Fitz./Brisbane Festival), Desiree Din and The Red Forest, Bustown, The Laramie Project (ATYP), This Territory (ATYP/PYT), Blood Wedding (AADA), The Grandfathers, Bassett, Fugee, Totally Over You, The Elephant Man (NSW Public Schools’ Drama Company), My Name is SUD (Blacktown Arts Centre), Human Resources (Siren Theatre Co.), Les Miserables (Alexander Productions), Wild Tales (State of Play), The Messenger (Canberra Youth Theatre), The Magic Pudding, Cinderella (Marian St Theatre) and A View of Concrete (BSharp). She has recently begun a design collaboration Stukel Stone with DANIEL BEASLY ARCHITECTURE and together they designed the interior refurbishment for the Fig Tree Theatre, UNSW.
ATYP was where I cut my teeth as a recent graduate from NIDA. Significant experiences include: the opportunity to collaborate with a professional creative team on This Territory PYT/ATYP 2006; meeting what I hope will be a life-long friend, performer and photographer Alex Vaughan; the artistic liberation I experienced in my collaboration with director Amy Hardingham on the 2009 production of Lachlan Philpott’s Bustown; the joy of working alongside Fraser Corfield on The Laramie Project, with projection design by Gabe Clark; and the honour of bringing to life costume/character designs by children’s book illustrator and cartoonist Rod Clement on Max Mellor’s commissioned play Desiree Din and the Red Forest. Although Studio 1, The Wharf, poses many problems including site lines (those darn columns!), limited rigging points, no wings or fly tower… this space is a hot-bed for creativity tempered only by the deep cool of the harbour beneath.
Richard Wherrett and Mark Gaal celebrate ATYP’s 25th Anniversary, in the STC Big Rehearsal Room, 5 Nov, 1989.
Mark Gaal at ATYP:
The Tempest, 21 Apr, 1988
Spring Awakening, 6 Apr, 1989
All Stops Out, 20 Jul, 1989
All Stops Out – UK tour, 9 Aug, 1989
All Stops Out – return, 30 Mar, 1990
All Stops Out – tour, 18 May, 1990
Romeo and Juliet, 24 Aug, 1990
The Caucasian Chalk Circle – tour, then Sydney, 30 May, 1991.
A graduate of the University of Queensland and NIDA, Mark has directed productions for some of Australia’s leading performing arts organisations including Sydney Theatre Company, Belvoir St Theatre, Opera Australia and NIDA, where he is Director of Vocational Studies, responsible for Diploma courses, and a member of the Executive Team.
Mark began his association with ATYP as a guest in 1988, directing Shakespeare’s The Tempest. The following year Mark was appointed director of atyp, a position he held for 3 years. In that time, he directed productions of Wedekind’s Spring Awakening, Brecht’s The Caucasian Chalk Circle, Shakespeare’s Romeo and Juliet and the premiere production of All Stops Out, by Michael Gow, which toured internationally.
My time at ATYP: I loved the collaborative aspect of my time with ATYP. We had a small, dedicated management / admin team, and together with workshop participants and industry guests we challenged ourselves to make the most exciting, meaningful theatre we could.
What I’m working on now: I work fulltime at NIDA, which is a great place for investigating performance. And I have an ongoing relationship with Pinchgut Opera, as a guest director.
Best thing I’ve ever seen on stage: Heiner Müller’s production of Brecht’s Resistible Rise of Arturo Ui, at the Berliner Ensemble.
My advice to those who want to take on the theatre world: Go for it, and get from it as much as you can, want, need.
Anthony Mackey, Anthony Gee and Philippa Smith in ATYP’s Hamlet, 2002. Photo: Phil Sheather (c)
Anthony Gee’s career at ATYP:
Re:Macbeth, 17 Jul, 2001, directed by Timothy Jones.
Kinderspiel – Out of Bounds, 5 Jan, 2002, directed by David Berthold and Manuel Schobel.
Hamlet, 5 Oct, 2002, David Berthold.
Brokenville, 30 Jun, 2003, directed by David Berthold.
Brokenville, 17 Jul, 2003 (UK tour to the National Theatre’s Shell Connections’ Big Youth festival)
Beatrice, 7 Oct, 2003, directed by Timothy Jones.
The Big Birthday Bash – Beatrice Ensemble, 23 Nov, 2003.
Acting Life began for me, as I assume it does for a lot of Sydney actors, with an audition at ATYP.
A mate and I caught the train from Campbelltown to Circular Quay, no small deal back then, and made that windy walk from the station to the Wharf where I auditioned for David Berthold and Tim Jones – two friendly, if slightly odd gents who I vaguely understood at the time to be ‘directors’ (“theatre people”, my mate scoffed).
The audition was for one of those brilliant but now defunct Lend Lease Scholarships that allowed a few lucky boys/girls to attend classes at ATYP for free, for a whole year.
I was neither hopeful nor nervous – it was my first audition and besides having no frame of reference for what that actually meant, I absolutely didn’t think I had a chance in hell of getting a scholarship to “some fancy city acting shit”, so – why get nervous? I just needed ‘the experience’.
But after a couple of rushed goes of Doug from Cosi (I was kindly corrected on the pronunciation of ‘Oedipal’ after my 2nd crack)… I was miraculously given one of the damn things.
It changed my life.
ATYP was good for me in lots of ways. I completely attribute my being an actor to having gotten that scholarship and working on those shows. They were great opportunities. I arguably learnt more during that time than I did at drama school and met some incredible people along the way. I loved every minute I spent there.
Best Things? There’s been heaps but here’s a couple:
Liev Schreiber playing Eddie in A View From The Bridge (Cort Theatre, Boradway, maybe the best performance I’ve ever witnessed.
Benedict Andrews’ STC production of Endgame was the first proper challenge I ever had in the theatre.
Iain Sinclair’s Hurly Burly for Stalemates (Griffin), independent Theatre at its best: sexy and dangerous.
…and of course, Berthold’s take on Marlowe’s The Massacre At Paris, for ATYP! It was the first play I ever saw, and it single handedly obliterated the stuffy/boring misconception I had of “Theatre”. I remember going back to school the next day and telling my mates, “theatre is mad! There were heaps of nuns pashing and naked dudes stabbing each other, and…”
Advice? Read heaps of plays. Watch heaps of plays. Make sure it’s fun. Keep going to ATYP.
Theatre: Empire – Terror on the High Seas (TRS), Alphabet of Arousal (STC Rough Drafts), The Boys (Griffin), ROPE (TRS), The Distance From Here (Griffin Independent), Strangers In-Between (Griffin), Capture The Flag (TRS).
TV: Crownies, Underbelly: Razor, Packed To The Rafters, Rescue: Special Ops, The Strip, All Saints, Home & Away.
Film: Around The Block, X-Men Origins: Wolverine. Shorts: Black & White, Boundless, Shot Open, Awful (& Other Tricks).
Letitia Davy and Neil Gooding in ATYP’s Songforce, 2001, photo: Wendy McDougall
Neil was a member of the cast of ATYP’s Songforce, 7 Jul, 2001.
Neil most recently produced and directed Oliver at Riverside Theatres. In 2009, he produced and directed Sing On Through Tomorrow – The Music Of Matthew Robinson, as well as a tour of Love Letters starring Ian Stenlake and Rachael Beck. He was also one of the producers of the hit Australian play Holding The Man in the West End, starring Jane Turner and Simon Burke, as well as producing and directing LOVEBiTES by Peter Rutherford and James Millar for a season in Perth.
Neil is one of the producers of Breast Wishes – a new Australian musical which premiered and toured in 2009, and just completed a six-month regional tour in 2011. Neil also recently directed and produced the Australian premiere of Gutenberg! The Musical!
In 2008, Neil produced (with WhiteBox) the World Premiere of The Hatpin starring Caroline O’Connor, Peter Cousens, Barry Crocker AM and Melle Stewart, which then went on to perform at the New York Musical Theatre Festival in September 2008. Neil also served as the Assistant Director on both of these productions.
Neil recently established In The Pipeline – a not-for-profit organisation which has been set up to develop new Australian theatrical works and writers. The first workshops for In The Pipeline will be held in 2011.
For several years, Neil was employed by Jacobsen Entertainment, where he responsible for the financial administration of the Arena Productions of The Man From Snowy River Arena Spectacular, the Long Way To The Top concert series, De La Guarda and Dirty Dancing, as well as being the tour accountant on the road with Ja Rule & Ashanti in 2003.
In 2005, Neil spent several months contracting to Jacobsen Entertainment exploring the potential of overseas productions of Dirty Dancing. Neil also worked for Delta Goodrem and toured Australia as her Tour Accountant on her Visualise Tour.
As a director, Neil has been nominated for a 2009 Helpmann Award as well as a 2009 Green Room Award for his direction of Gutenberg! The Musical.
He has worked on many projects including LOVEBiTES, Yarn (for AIM) Diciasette (for Mark Vincent), Joseph And The Amazing Technicolor Dreamcoat, A Little Touch Of Chaos (New Musicals Australia), Back To The 80’s, The Road To Bethlehem for Short, Sweet+Song (which was awarded the Best Australian work), the Kookaburra workshop of The Silver Donkey, Keeping Annabelle for Short+Sweet 2007, Listen To My Heart, and the two workshops of new Australian musical The Hatpin.
Neil was Assistant Director / Ensemble Director for the launch concert of Kookaburra Music Theatre Company, directed by Gale Edwards, and also directed Building A Wing – a 10-minute musical for the inaugural Short, Sweet+Song competition. This piece was voted by the judges as the Winner of the Best Musical. Neil has also recently directed Nick Christo’s cabaret show The Fabulous Frances Faye. The show was nominated for a Sydney Theatre Critics Award, and was presented in New York in 2010 at Don’t Tell Mammas. This year, Neil will be directing Side By Side By Sondheim in Sydney, as well as a national tour of Love Letters starring Ian Stenlake and Rachael Beck.
Neil is the author of Back To The 80’s which is now produced hundreds of times around the world every year. He produced and directed a production of Back To The 80’s starring Bruce Samazan in 2004. He established Fast & Fresh, the under-18 short play competition which is the offshoot of Short+Sweet – the largest short play festival in the world. 2011 will mark the 6th year of this successful competition.
Neil has been awarded a Bachelor of Commerce and a Bachelor of Law, both from the University of Queensland.
Julia Grace and David Hall in ATYP’s Bendy, 2002. Photo: Phil Sheather (c)
Julia’s ATYP career:
Bendy – 6 Jul, 2002
Beatrice – 7 Oct, 2003
The Big Birthday Bash: Beatrice ensemble – 23 Nov, 2003
The Musicians – 12 Jan, 2004.
Julia is a 2008 graduate of The Victorian College of the Arts. Since graduating she has worked with various theatre companies including The Store Room and The Hayloft Project.
In 2011, she was selected to participate in a ten-week residency program with the Steppenwolf Theatre Company in Chicago.
Earlier this year she appeared in the Australian premiere of Tribes at the Melbourne Theatre Company, and is currently performing in the Australian premiere of Neil LaBute’s, Reasons to be Pretty at Darlinghurst Theatre Company.
James with his best friend at the time!
James was Administration Assistant at ATYP from November, 2014 – November, 2015.
James Handsaker completed his Higher School Certificate in 2014. Instead of lazing about, he chose to take up full-time employment, fulfilling his passion for the Arts and for youth empowerment through his 12-month traineeship through ArtsReady. Whilst with us at ATYP, James worked as our Administration Assistant, and was the smiling face at our front desk.
Prior to working at ATYP, James was involved in multiple youth-led programs, including the YMCA NSW Youth Parliament programs. He was responsible for the development and implementation of new student leadership programs within schools and attended the Global Young Leaders Conference in New York.
Amy and workshop participants, Palm Island Regional Residency, 2009.
Amy Hardingham at ATYP:
as Assistant Director:
Bendy, 6 Jul, 2002
The Crossing, 25 Sep, 2002
Skate, 15 Apr, 2003
Skate – tour, 29 Apr, 2003
Beatrice, 7 Oct, 2003
The Musicians, 13 Jan, 2004
Skate – Belfast tour, 26 Oct, 2005,
Untogether, 17 Apr, 2004
Bustown, 25 Sep, 2009,
as Regional Programs Manager, running:
Palm Island Regional Residency, 2008-2009
Tennant Creek Regional Residency, 2008
Toowoomba Regional Residency, 2008, and
as ATYP tutor, many workshops, including for ABCN, AIME, ATYP Education and Ensembles, and Fresh Ink Young Writers’ Camp, 2009.
Amy is a director and drama teacher who first came to ATYP as a workshop participant when she was a teenager.
While she was at Uni she was the assistant director on five ATYP productions, and her first ever professional directing gig was with ATYP in 2003 (Untogether by Morna Pearson). After a stint as Artistic Director of Outback Theatre for Young People (2004-2008), Amy returned to ATYP as Regional Manager, where she ran programs in places like Tennant Creek and Palm Island.
In 2009 she directed the premiere production of Lachlan Philpott’s Bustown for ATYP.
Amy became a mum in 2010 and has worked as an ATYP tutor on a huge range of workshops and ensembles since then. Amy has a BA in Performance Studies from Sydney Uni, a Grad Dip in Arts Management from UTS, and a Grad Dip Education in secondary Drama from CSU.
Alice, rocking a sequin cap at 6 years old.
Alice is an arts administrator, stage manager, dancer and teacher, originally from Perth but now happily calling Sydney home. Since making the cross-country move, after studying a Bachelor of Arts Management at The Western Australian Academy of Performing Arts, Alice found herself working in commercial music theatre before jumping ship to the realm of interdisciplinary performance art and now finally landing, with two feet squarely on the ground, in the land of theatre for young people.
While in Perth she produced for Humphrey Bower’s award-winning Night Train Productions and worked as a freelance stage manager for The Blue Room Theatre and the inaugural Fringe World Festival.
In her spare time she dons her Secretary hat to sit on The Jazzgroove Association’s executive committee, contributing her expertise to one of the most revered weekly jazz gigs in Sydney. Any other free moments are spent baking delicious treats and encouraging her bad lindy hop habit.
Andrew Johnston, Grace Ramsden and Rupert Reid, in ATYP’s The Caucasian Chalk Circle, 1991, photo: Hugh Hamilton.
Brenna’s career at ATYP as actor:
Girlstalk, 16 Nov, 1989,
as Stage Manager:
At the Table of the Beasts, 27 Nov, 1990
The Caucasian Chalk Circle, 30 May, 1991
Frankenstein’s Children, 6 Sep, 1991,
as Assistant Stage Manager:
The Hour We Knew Nothing of Each Other, 11 Jan, 1995.
ATYP is where I learnt the fundamentals of theatre. It gave me the chance to work under the supervision of professional artists and technicians. It was at ATYP that I called my first show, went on my first tour and really fell in love with the artform. I wouldn’t be here today without ATYP.
Brenna Hobson was appointed General Manager of Belvoir in 2008. Prior to this appointment she was the General Manager of Jigsaw Theatre in Canberra and Production Manager for Bangarra Dance Theatre.
Brenna’s career began at Belvoir in 1995 when she started out as production co-ordinator and was promoted to Production Manager in 1999. Brenna is the secretary of Belvoir St Theatre Limited Board, is a member of the Company B Ltd Board, and is also on the Seymour Centre’s Artistic Advisory Panel.
As an independent producer Brenna has produced Vital Organs (B Sharp, Downstairs, Belvoir Street Theatre, Sydney), Now that Communism is Dead My Life Feels Empty (B Sharp, Downstairs Seymour, Seymour Centre, Sydney and The Tower, Malthouse Theatre for the Melbourne International Arts Festival), The Suitors (Old Fitzroy Theatre, Sydney) and the documentary With Hearts and Hands.
Brenna is currently completing a Master of Arts Management at the University of Technology, Sydney.
ATYP’s Henry V, 1994, photo: Skeet
Victoria Houston’s career at ATYP:
Henry V, 18 Jul, 1994
Aurora Light Festival, 9 Oct, 1994 (A presentation by an ATYP group, on a barge in Darling Harbour, in a procession representing different cultures that immigrated to Australia after 2nd World War. ATYP depicted Italian culture.)
I used to attend ATYP workshops back in the early 1990s, and I played ‘Boy’ in the production of Henry V at Eveleigh St railway yards, 1994. I had a page-boy haircut, and had the time of my life. I’ll never forget it!
I am now working as Equity’s National Live Performance Industrial Officer, representing performers in industrial matters like contract disputes and unpaid wages and giving contractual advice. It was definitely my thoroughly enjoyable years at ATYP which led me in this direction after finishing law school.
I attended ATYP in the years from 1994-1998. I was an active and inventive troubadour who relished and cherished as a storyteller of stigmatising sagas and scintillating sitcoms, especially a year-long weekly workshop theatre passage in 1995 with writer Donna Abela, comedy classics in 1996 with Genevieve Lemon and playwriting triple treats of acting/singing/dancing in 1997 with, I think it might have been, Felix Williamson.
In 1996, I was the Sydney Festival Poetry Olympics winner, Performance Poetry, in the Epic Humour Category, and for the 1996 Sydney Festival was a comic actor/vaudeville variety host with 12 volunteer performers from ATYP, who joined the cast of Los Dimonis, Spanish Theatre Troupe, Els Commediants (music, acrobatic stunts and fireworks), representing “the good spirits”, for 5 performances.
In 1998, I was Master of Ceremonies / Compere of Sydney Theatre Company – Season of Love Launch.
My treasured time at ATYP was enthralling, enchanting, energetic, entertaining, as well as astounding, astronomical and aspirational.
It completely consumed my love of drama and wishing to be fulfilled in performing arts echelons.
We had a tremendous troupe of terrific supportive fellow friends who “…collaborated colourfully, crystallising on all cylinders and being the catalyst for chaotic creations.”
At present I have valiantly attempting to infiltrate my theatrical tendrils into any creeping Ivy League vine of creative crevices and services in which I can best be utilised. Artistic activities of all assortments I can turn my talons to, given the occasion and opportunity. Any leads or leading roles anyone would like my animation for?
The best the best thing I have ever seen on stage is Barry Humphries, in anything he ever does, is the tour de force finest of anything, both on stage & page.
Advice for the youth pursuing this line of business is to: “…harness and saviour all your intrinsic intuition and innate instincts, and marvel on the magical mayhem and mastery of this merry medium”.
Felicity Jurd at ATYP Performance Day, 11 Dec, 2005.
ATYP, for me, is a place where anything is possible; performing both new and classical plays, cool guest teachers, performances in all genres, making fantastic lifelong friendships and the chance to perform in professional-level shows at great theatres. I had so much fun whilst receiving topnotch training in stage, camera, voice and movement at ATYP. It gave me a real understanding of the dedication and hard work involved, to work professionally in Australia and overseas.
Felicity Jurd started out with holiday workshops and then took classes in acting, improvisation and camera. At 17, Felicity auditioned for and won the ATYP 12-month scholarship using Edmund’s speech from King Lear, and so began her total immersion in classes of all styles most days of each week.
Her first play with ATYP was Henry V directed by Antoinette Blaxland which had real horses and real battlefields! Just incredible! She then played 20 different small characters in The Hour We Knew Nothing of Each Other, directed by Michael Gow for ATYP and the Sydney Festival. Michael Gow asked her to choreograph the dance sequences when he saw her rehearsing her own choreography side stage.
At 21, Felicity went to train at the Atlantic Theater Company in New York. On her return, she was invited to teach workshops at ATYP and commenced devising theatre shows for young people including for the opening of the Bowraville Theatre in Northern NSW. Awards: Golden Coat Hanger for Best Acting Tutor at ATYP in 2002, and Best Staff Member at ATYP in 2003!
During this time, she also worked full-time as Acting Artistic Associate and then later as part-time Workshop Co-ordinator, before landing a job working on The Lion King (Aust), full-time, as an acting and dance coach to the young Simbas and Nalas.
Credits include: One Flew Over the Cuckoo’s Nest (UK), Playing with Fire (UK), Green Means Stop (UK), Souvenir, Five Women Wearing the Same Dress, Chambres, I May Fly (New York, Sydney and London), The Vegemite Tales (West End, London), Land of Hope, Home and Away, A Country Practice. TV commercials include: Samsung Galaxy, Little Angels (UK), Richmond Mini Meatballs (UK), Fanta Sours, eHarmony (Aust), Nurofen (Aust) and AMI Insurance (NZ), Channel 5 Launch of Wentworth, Mediawatch on ABC TV and a 5-part ALDI Liquor commercial campaign.
Felicity is currently teaching voice and acting at International Screen Academy, Actors Centre Australia and NIDA, and has recently been a vocal coach assisting the actors on three plays, for directors such as Kate Gaul, Joseph Uchitel and Priscilla Jackman.
Scene from ATYP’s Henry V, 1994, photo: Skeet.
Leland’s ATYP career, as actor:
Stars, 23 Nov, 1994 (Festival of Young People’s Theatre – Hot Young Things)
Henry V, 18 Jul, 1994
The Hour We Knew Nothing of Each Other, 1 Jan, 1995,
as co-Playwright, with Francesca Smith, and Assistant Director:
Suicide Blonde, 30 Aug, 1996 (Festival of Young People’s Theatre – Hot Young Things)
as guest presenter on a panel:
Get Your Show On – Forum, 1 Sep, 2005.
ATYP was an integral part of my development as a theatre artist. It provided me with a group of like-minded individuals and tutors with passion and vision for the craft. It gave me a wonderful platform to launch a career as a young independent artist and a community to support and create with. It’s a community I still work and connect with today, 18 years on.
Leland has over fifteen years directing, dramaturgy, design, producing and venue management experience which includes nine years with Tamarama Rock Surfers and the Old Fitzroy theatre, six of these as Artistic Director.
Since graduating from the NIDA directors’ course in 1997, his career has been dedicated to the development and production of new Australian writing and contemporary performance practice.
Under his tenure as Artistic Director, Leland has been responsible for the programming and presentation of over 40 main stage productions and five annual programs, 2005 A Season of Heaven, 2006 Blow it Up, 2007 Season of Rock, 2008 A Wave of Words and 2009 Fragments from the Fringe.
In 2010, Leland established the Rock Surfers’ second venue at the Bondi Pavilion Theatre. His directing credits include Rock, Paper, Scissors by John Ad Fraser, THRALL by Sue Smith, Constance Drinkwater and the Final Days of Somerset by Stephen Carlton, This Blasted Earth – A Christmas Miracle with music by Toby Schmitz and music by Tim Minchin, Cu*t Pi by Toby Schmitz, Harrys’ Christmas by Steven Berkoff (TRS), Woyzeck (0ne Man Prod.), ATM (Sydney Festival 2002), Happy New and Men by Brendan Cowell (Rogue Star Prod. 2000-01) Where the Wild Things Are (Naked Eye Prod.), Blasted by Sarah Kane (NIDA) and How to Act Around Cops by Logan Brown(Shaman Prod.).
He was Associate Director on Cross Sections by Suzie Miller (TRS) in 2004, and for the return season at the Sydney Opera House in 2005.
He is a regular dramaturge with key organization, Playwriting Australia, a committee member of the Critical Stages touring program and a tutor of the NIDA Directors’ Course.
Scene from ATYP’s Bubble, 2002, directed by Adam Kronenberg and Conrad Page. (Cast member, please identify yourself!)
Adam Kronenberg’s career at ATYP:
Junks, 14 Nov, 1997 (ATYP Studio 1), 3 Dec, 1997 (Martin Place Amphitheatre),
Bubble, 4 Apr, 2002 (co-Directed with Conrad Page),
Ties That Bind – The Jump Tree, 27 Nov, 2008;
… as an assistant to the Director on Cool Rebels, 10 May, 1996;
… as Acrobatic Co-ordinator on Macbeth, 5 Jul, 1997;
… as Tutor specialising in Movement Theatre and Puppetry, 1996-2008;
… and as Acting Workshops Co-ordinator, dec, 2003-Jan, 2004 and Dec, 2004-Jan, 2005.
Adam has an 18-year association with the Australian Theatre for Young People. At ATYP, Adam taught acting, physical theatre, puppetry, playbuilding, and directed two of their main stage shows: Junks, 1997 and Bubble, 2002. For television, Adam was a puppeteer on Feral TV for the ABC; Bambaloo for Channel 7/Yoram Gross and the Jim Henson Company; the science fiction show Farscape and most recently Raggs, an early childhood series. Adam’s work on Raggs has resulted in him being employed as a puppeteer in the USA since 2007.
He toured regularly in Europe between 1996–2001, spending some time as the Head Coach and Acrobatics Tutor at the Belfast Community Circus School. In 1997 he was a puppeteer on Spitting Image, in London, and worked throughout the UK.
In Australia he’s been an actor and puppeteer for 15 years, and performed on stage with Sydney Theatre Company, Bell Shakespeare Company, Paul Dainty Entertainment, and for Malcolm C Cooke and Associates he toured nationally in The Hobbit and The Lion, the Witch and the Wardrobe. Adam has worked extensively as an educator within the primary, secondary and tertiary education systems. From 1997 until 1999 he worked as the Acting teacher within the Music Theatre Program at Central Queensland University, and he has been the Head of Training at the Flying Fruit Fly Circus in Albury.
He continues to travel and work in the US where he has secured a 0-1 visa for artists who meet the criteria of being “an outstanding talent in their chosen field” as determined by the American Federation of Television and Radio Arts.
Lisa Kowalski, Hannah Liddy and Elisha Oliver in ATYP’s 17, by Michael Gow, 2005, photo: Giselle Haber
Hannah Liddy’s career at ATYP, as actor:
ATYP Foundation Launch, 15 Feb, 2003
A Touch of Cabaret, 23 Jul, 2003
Beatrice, 7 Oct, 2003
The Big Birthday Bash, (ATYP 40th Anniversary party), part of the Beatrice ensemble, 23 Nov, 2003
17, 23 Apr, 2005
Boy Overboard – tour, 14 Mar, 2006
3 Little Fears: The Chicken or the Egg, 9 Jul, 2006;
… as ATYP representative or creative for the Community Programme:
Clown Around at Westmead Hospital, 25 Feb, 2004 (co-Director, with Vanessa O’Neill)
ATYP Christmas Angels, 2002-2009 (participant then Director)
Ed Expo, 23 Jun, 2007;
…and as ATYP tutor, 2003-2009.
Hannah is a graduate of both the University of Sydney and the University of Melbourne. She has a Bachelor of Arts, a Bachelor of Education and a Bachelor of Dramatic Arts, Acting (VCA). Hannah also completed a dance internship at Alvin Ailey Dance Theatre in NYC.
As a performer Hannah has performed nationally and internationally and has appeared in Australian premieres of works by Kate Champion, Louis Nowra, Michael Gow, Patricia Cornelius and Tanya Gerstle.
She has worked as a Director, Choreographer and Theatre Maker with companies such as The Australian Theatre for Young People, The City of Sydney, The Sydney Dance Company, The Sony Foundation, The Australian Girls’ Choir, The National Institute of Youth Performing Arts and is a National Production Judge for the Rock Eisteddfod Challenge.
Hannah is the current Associate Director of St Martin’s Youth Arts Centre in Melbourne, and Associate Artist in the acclaimed Melbourne Performance Ensemble ‘Optic Nerve’.
My involvement with ATYP, and its effect on my life? Productions: Beatrice (2003), 17 (2005), Boy Overboard (2006) – Adelaide Tour. Events: Foundation Launch, Fox Studios Fundraiser, Sony Foundation, 40th Birthday Bash. Workshop Tutor: 2003-2009. Director – ATYP Angels: 2007-2009.
ATYP was so full of gorgeous, wild, genuine, GOOD people. It taught me to always choose joy in life, and my work in the theatre. At ATYP, everyone with a warm heart, and a generous spirit just belonged. It was too fabulous for words.
After graduating VCA (Acting) 2009, I became Associate Director of St Martin’s Youth Arts Centre, and I work as a performer in Melbourne Performance Ensemble, ‘Optic Nerve’.
The best thing I have ever seen on stage? Un Peu de Tendresse Bordel de Merde (A little tenderness for crying out loud) – Dave St Pierre & Company.
My advice to young people who want to take on the theatre world? Find marvellous people to play with…
Danielle Lonnon, as the Press Gallery Sky Lark, in the suit, left of the bird in Post-it Notes,
in ATYP’s Birds, 2000, photo: Gael le Boulicault (c).
I started taking acting and voice classes at ATYP from about the age of 17. I was known as a musician at school (playing the saxophone and other instruments) however I wanted to have a real go at acting rather than being the token musician who could do a bit of acting. So I thought I would try some classes at ATYP.
I didn’t think I was the best essay writer at school. I was much better at vocalising my thoughts. Acting is about vocalising a thought process, and the acting classes gave me greater experience in this process, which in turn helped my essay writing. For that alone I’m very grateful to ATYP.
Early 2000, I was asked to meet with the then Artistic Director and General Manager David Berthold and Tim Jones. I wanted to work in the theatre but I wasn’t sure if I wanted to be a stage manager. I assisted Tim on a play where I think I became a mixture of the Assistant Director/Dramaturge, and in a light bulb-moment, Company Manager. It was then and there that I decided a Company Manager is what I wanted to be.
Also at this time the ATYP was about to start auditions and rehearsals for the production of Birds which was to be performed at the Sydney Opera House as part of the Sydney Olympic Arts Festival. David Berthold asked me to audition – and I thought he was crazy. I thought: I’m a backstage person, but then I thought, why not? So I auditioned on my saxophone and with a Shakespeare monologue. Happy to say I was given a part as a Press Gallery Sky Lark.
I have also been lucky enough to be employed by ATYP. Albeit very briefly, I worked in the administration office, and helped with school holidays workshops and I was a tutor for some musical theatre workshops.
ATYP was the start of my theatre career and for that I hold a big place in my heart for the company.
I now work for Opera Australia. I have been here for two years. The first year I worked in Company Office as one of two Assistant Company Managers. I now work as the Special Projects Co-Ordinator, which allows me to work on small projects for different departments. Each project is different but normally consists of the same formula: a little planning, a medium amount of co-ordination and a lot of excel spreadsheets. Who would have thought that year 9 maths, accounting and business would come in so handy?
The best thing I have seen on stage? This has been a really hard question and I have thought long and hard for my answer. In third place, was Starlight Express Sydney Showground, 1988. Theatre and music combined. Right there and then, I thought, “Right! This is what I want to do.”
Second place is The Royal Family, Theatre Royal Haymarket, London, 2001. Judi Dench is my hero, and I so desperately wanted to see her on stage. She was amazing, breathtaking and worth every penny. The show’s cast and crew list was a who’s who of British theatre. Directed by Peter Hall and staring just to name a few: Judi Dench, Harriet Walter, Julia McKenzie, Toby Stephens, Peter Bowles, Peter Blythe and Emily Blunt .
First place is Private Lives by Noel Coward, Albery Theatre, London, 2001. It starred Alan Rickman and Lindsay Duncan, The Noel Coward wit and the timing of the actors were in such unison, that it made a very enjoyable night at the theatre. It also may have helped that a week before, I had met Mr Rickman at a RADA event at the Old Vic. After talking to him, and via his Company Manager, we were given house seats to see the show.
My advice to young people who want to take on the theatre world? Like anything in life, working in the theatre takes time and patience, and I won’t lie, there are many disappointments. However if you do take on the challenge, learn from your disappointments and then become successful in your chosen field, the reward of knowing that “you did it” is worth its weight in gold. I wouldn’t have my life any other way.
Having studied at ATYP, Danielle also studied Film and Television Production at North Sydney TAFE. She has also taken courses and classes and NIDA (Sydney) and Central School of Speech and Drama (London) in technical theatre and arts administration.
Since then Danielle has worked both here and in the UK in various production and administrative roles.
Selected career highlights are working with the Royal Shakespeare Company,1999, The Entertainment Team London, 2001, Arts Theatre London – Closer to Heaven and The Vagina Monologues, 2002, Cats UK Tour, 2004, Dirty Dancing, 2005, Christchurch Arts Festival, 2006, Sydney Conservatorium of Music, 2007, Assembly @ The Edinburgh Fringe Festival, 2009, and Opera Australia, 2010.
The ‘investiture’ of Baz Luhrmann as atyp Ambassador at atyp’s Behind the Red Curtain event, 2005, photo: Ian Barnes
Some of the ways Baz Luhrmann has been involved with or supported atyp:
1993 Master Class Series workshop presenter.
Benefit screening of film, Romeo and Juliet, by Baz Luhrmann, and after-screening party, in support of atyp, 19 Dec, 1996.
Speaker at a fundraiser for atyp, the charity premiere screening of Moulin Rouge, by Baz Luhrmann, 22 May, 2001.
Host, with Catherine Martin, of the launch of atyp Foundation, at House of Iona, 15 Feb, 2003.
Appointed atyp Ambassador, at atyp fundraiser, Behind the Red Curtain, 10 Sep, 2005.
Special preview fundraiser screening of movie, Australia, by Baz Luhrmann, starring Nicole Kidman (former atyp Patron and alumna).
As a young teenager coming from the country, I longed for any door that might open the possibility of being in or around the theatre. For me, that door was the Australian Theatre for Young People: a place and a culture that opened the door for me, as it did for so many other well-known actors and directors. It’s for this reason that I am committed to continuing my role as Ambassador and supporting atyp. I encourage others to do what is necessary, as atyp cannot survive without considerable effort and support. I invite you all to get involved, and to support atyp as this proud company enters its 50th year.
Alyssa McClelland in atyp’s Outpatients, 2001, photo: Wendy McDougall
Alyssa was a cast member of the following atyp productions:
The Don Juan Project, 24 Sep, 1997
Junks, 3 Dec, 1997
Contact, 8 Apr, 2000
Birds, 23 Aug, 2000
Spurboard, 11 Oct, 2000
Re:Macbeth, 17 Jul, 2001
Outpatients, 10 Oct, 2001
Alyssa McClelland is an actress and filmmaker. She studied acting at the Australian Theatre for Young People and in 2002 she received a scholarship from atyp and Lend Lease, to undertake acting training at the prestigious Atlantic Theater Company in New York.
After returning to Australia, Alyssa continued to work professionally as an actor, with lead roles across theatre, film and television, including films such as A Man’s Gotta Do, Deck Dogz, Knowing and Surviving Georgia; television series Water Rats, All Saints, Home And Away, East West 101 and Canal Road, and stage productions with the Sydney Theatre Company, Melbourne Theatre Company and Belvoir St Theatre… among many others.
Alyssa also studied filmmaking, completing the competitive Bachelor of Arts in Communications degree in Media Arts and Production at the University of Technology Sydney in 2005. The course fed her passion for film and provided her with a strong foundation in writing and directing.
Her first short film Emilia Eckle was directed, written, co-produced and production-designed by Alyssa, and gained great critical success on the international film festival circuit, playing opening night at the Palm Springs International Shortfest 2009, opening night at the Dungog Film Festival NSW 2009, Opening Night at the Women of the World Festival in Sydney 2011, Los Angeles Shortsfest 2009, BendFilm Festival 2009, The Austin International Film Festival 2009, the San Diego + Newport International Film Festival 2009, Shortfest Adelaide 2009, St Kilda Film Festival 2010 and The Reel Shorts Film Festival 2010 in Alberta Canada, where it was voted in the Top 5 Best Short Films, and for which Alyssa was flown over by the festival co-ordinators as international guest. Qantas also purchased Emilia Eckle for in-flight entertainment.
At the end of 2009 / beginning of 2010, Alyssa directed and produced the short comedy Nic and Shauna, which was chosen to be a finalist for Tropfest 2010. She was one of only two female filmmakers chosen to be one of the sixteen finalists for the competition. The film stars Ryan Johnson and Pia Miranda as a brother/ sister performing duet, planning an exciting path to showbiz stardom when a YouTube video from their childhood goes viral.
Most recently, Alyssa directed an 11-episode web series titled One Step Closer to Home (WWW.ONESTEPCLOSERTOHOME.TV), which was written and produced by herself, with actor Ryan Johnson. The series was released online in December 2011 to critical acclaim. It has notched up an outstanding 98% Funny rating on Funny-or-Die and was recently selected for LA’s 2012 WebFest.
Alyssa is currently developing, with the Cordell-Jigsaw Group, a television series that she created with Pia Miranda. In October 2011 she directed her first music video for Indie band, Belle Roscoe, in Paris.
Alexandra Vaughan, Scarlet McGlynn and Marina Clark in atyp’s Outpatients, 2001, photo: Wendy McDougall (c).
Scarlet McGlynn as an actor at atyp:
Performix, 21 Apr, 2001
Outpatients, 10 Oct, 2001.
Scarlet is an Australian director and actor who has worked professionally both in Australia and in the UK. She is co-artistic director of Tin Shed Theatre Company (WWW.TINSHEDTHEATRECOMPANY.COM.AU).
Her directing credits include: Small Hard Things by Vanessa Bates (Bondi Feast Festival 2012), The Importance of Being Earnest Dragons, and Other Classic Tales, as Told By an Octopus by Alli Sebastian Wolf (Old Fitzroy Theatre 2012), Still by Jane Bodie (505 Theatre, Sydney 2012), Boxing Day by Phil Spencer (Critical Stages Regional Tour 2012, Old Fitzroy Theatre 2011), Ebony and… by Tin Shed (Blueprints Residency – currently in development), The Importance of Being Ernest Dragons by Alli Sebastian Wolf (New Theatre as part of BSN 2010), Siberia by Timothy Daly (New Theatre as part of BSN 2009), Bluey by Phil Spencer (Melbourne Fringe, STC, Old Fitzroy Theatre, The Arches, BAC London).
After directing a play reading of Crystal, by Caleb Lewis for the Under the Wharf Readings, in August, 2012, Scarlet will be directing Show Me Yours, I’ll Show You Mine by Tim Spencer for The Melbourne Fringe Festival 2012.
Later this year Scarlet will go into development with the next Tin Shed show, PELVIS, set to premiere in Sydney in 2013.
The cast of This Territory, 2007, Fiona Moody on the right, photo: Allan Vella (c).
I was really lucky to discover atyp at a young age, and attended workshops regularly from the time I was about 12 until my 20s. The tutors were always amazing and incredibly encouraging. Being a performer in This Territory was a truly memorable experience – one that I grew from as a performer and as an Australian (and getting to share the Green Room at the SOH with seasoned pros like Pamela Rabe was pretty great too!). And the friendships made will last forever. Also working on This Territory helped me to get professional acting gigs and introduced me to casting agencies like Mullinar’s – which is invaluable.
Also recently working for version 1.0, I got to meet Fraser (Corfield – atyp Artistic Director) and Claire (Harris – atyp Marketing Manager) and work on The Tender Age. It was cool to see how atyp is expanding and constantly offering young actors more opportunities and experiences.
At the moment, in between castings, I’ve been working on an independent web series, an Aussie series for Foxtel, and also trying to get funding for other projects (as a Producer). And working Box Office at the Sydney Opera House and STC (which is great ‘cos I get to run into other atyp alumni)…
The best thing I have ever seen on stage? Wow, that’s difficult to narrow down. Top three would have to be… Al Pacino playing Shylock in The Merchant of Venice. The entire cast was electric on stage. Seeing Holding the Man directed by David Berthold, at Griffin, was unforgettable and will stay with me always. And recently seeing Capsis in Angela’s Kitchen was a perfect example of Australian theatre being honest, captivating and delivering an excellent narrative without the (unnecessary) bells and whistles.
My advice to young people who want to take on the theatre world? If it’s truly what you love doing then give it everything and don’t stop. Never stop. Then I can guarantee that your career will be abundant and full of wonderful, amazing experiences.
EDUCATION COORDINATOR Jan 2014-Mar 2016
Lisa was ATYP’s Education Coordinator from Jan, 2014 – Mar, 2016. She worked as a High School Drama and English Teacher in State and Independent schools, in both Regional and Metropolitan New South Wales. Lisa has also worked at theatre companies, as well as having worked as a freelance Drama workshop tutor for various organizations. She studied at UNSW and it was here in her second year, playing one of the Lear sisters, that she was part of the formation of the collaborative theatre-making collective Friends with Deficits. Within this collective she has performed at various theatre companies and as part of festivals around Australia.
I participated in many of atyp’s workshops while in high school. It felt so stimulating sharing such a creative environment with so many other young creative souls. It was a place where I really felt at home. I remember doing classes with fellow budding thespian, Alyssa McClelland, and thinking, ‘Wow you’re something special.’. I always loved her work. Felix Williamson was one of my teachers and now he is a good friend – how funny! atyp was such a great foundation for my career in the Arts.
Upon graduating from Loreto College, Normanhurst, where she was School Captain, Zoe had early aspirations to be a 60 Minutes journalist. Perhaps because she thought she ought to pursue a ‘serious’ profession. She was awarded the prestigious Channel 7 Communication’s Scholarship to attend Charles Sturt University (CSU) in Bathurst.
Zoe then hosted her own radio show, and over the past decade has worked as a producer, journalist and presenter across a wide range of Australia’s best known television programs, some of which include Channel 9 News, A Current Affair, MTV Australia, Escape with ET, RA, The NRL Footy Show, Sportscafe (NZ), Gladiators and most recently, Qantas in-flight Entertainment.
During this time, however, the acting bug returned and she furthered her studies in 2002 with a Masters in Drama from Queensland University of Technology (QUT), and quickly made her mark in the theatre community for her work in The Removalists (La Boite) and Song of the Yellow Bittern directed by the acclaimed Maeliosa Stafford. During this time she also trained at the renowned Philippe Gaulier Drama School in London. While working in theatre she received the Critics’ Choice Award for Most Promising Newcomer for her role in They Shoot Horses Don’t They?
Zoe recently starred in Andrew Traucki’s Australian thriller The Reef and had the title role in the exhilarating US sci-fi thriller Robotropolis – due for release later this year.
As an actress, she has appeared in countless productions including: as Regan McLeod, in McLeod’s Daughters, and Jane Durant, in the critically acclaimed New Zealand drama Orange Roughies; along with the American productions Evil Never Dies, Fearless, Virtual Nightmare and Australian feature film, The Book of Revelation.
She is a sought-after MC and Keynote Speaker and often turns her voice to radio and television ads.
Zoe has recently become an opinion leader for Tourism Australia, a regular contributor for Australian Traveller and Road Rider magazines, as well as an ambassador for Ducati motorcycles, riding her very own Monster 696.
ATYP’s Performix, 2001: Brent Forsstrom-Jones (SM), Alice Babidge (Set and Costume Designer), Anthony Pearson (Lighting Designer) and Andrew Benson (FOH Manager).
Anthony’s career as Lighting Designer at atyp:
The Greek Project, 15 Dec, 1998
The Wilderness of Mirrors, 13 Dec, 1999
Derrick, Get Off the Florist, 13 Dec, 1999
Children of the Sun, 13 Dec, 1999
Contact, 12 Apr, 2000
99% Accurate, 3 May, 2000
The Dance of Jeremiah, 3 May, 2000
Dominus, 28 Sep, 2000
‘Til Someone Loses an Eye, 7 Dec, 2000
Performix, 24 Ap, 2001
Songforce, 11 Jul, 2001
Re:Macbeth, 19 Jul, 2001
Outpatients, 10 Oct, 2001
Pat Sabatine’s Eighth Birthday Party, 10 Oct, 2001
Blind Girl’s Play, 10 Oct, 2001
17, 23 Apr, 2005
During his time at atyp between 1998 and 2001, Anthony worked on or designed the lighting for over 20 shows. In 2000, he won the atyp Lend Lease Scholarship to travel to London and the USA to study Lighting Design. From 2002 to 2004, Anthony completed the Technical Production Course at NIDA.
After graduating he designed the lighting for Strangers In Between (Griffin) and The Eight Reindeer Monologues (Down Stairs Belvoir) before travelling to New York, where he now works, as Lighting Designer on Hamlet (Asolo Repertory) and Associate Lighting Designer on such shows as: Shatner’s World, Hugh Jackman Back on Broadway, Other Desert Cities, Shrek, Finian’s Rainbow, Looped, Boeing Boeing, Bye Bye Birdie, High Fidelity, The Drowsy Chaperone (Broadway), Merrily We Roll Along, Stephen Sondheim’s 80th Birthday Celebrations, Juno, Follies (New York City Center Encores!), Annie (Madison Square Gardens), Chicago (International Productions), Rent (Asia Tour), The Drowsy Chaperone (West End & US National Tour), High School Musical 1 & 2 (US and UK National Tours), 9 to 5, Shrek, The 25th Annual Putnam County Spelling Bee (US National Tours), Spamalot (Las Vegas), White Christmas (Toronto), Little Miss Sunshine (La Jolla Playhouse), Minsky’s (LA), Henry IV”(Chicago Shakespeare & RSC).
Other projects include Shamu One Ocean at SeaWorld Parks, Celtic Fyre, IllumiNights and Kinetix at Busch Gardens Theme Park and New Year’s Eve Celebrations in Times Square for the last five years.
Dan was the Fresh Ink Manager at ATYP from mid 2011 to February 2014.
Dan is originally from the UK, but has spent a lot of his life traveling and has lived in the Czech Republic, Mexico, Singapore and now Australia. He studied Film and English many moons ago, had taught English to bemused students from all over the world, has run writing projects for poets, novelists, playwrights and screenwriters, and has run atyp’s Fresh Ink program since May, 2011.
The cast of atyp’s The Musicians, 2004, with Sarah on the left (2nd Horn),
photo: N Dare.
Sarah graduated from the School for Creative and Performing Arts, Cincinnati Ohio. While in North America she was a member of The Berkshire Theatre Festival Apprentice Company, Massachusetts, and performed in Pippin, The Wind in the Willows, Willey and the Hairy Man, the world premiere of Say Something, and in The Book of Five Rings, which toured Japan.
After returning to Australia to pursue her career on home soil, Sarah has performed in a 9-month national tour with Brainstorm Productions of The Hurting Game and Buddies, and in The Musicians, for atyp, at the Sydney Opera House.
Sarah was a member of Black Swan State Theatre Company HOTBED program and performed in The Laramie Project, at PICA and in a regional tour.
She devised and performed in Duck, Duck, Goose!, Letters to Alex and Conversolutions, all at The Blue Room Theatre.
Most recently Sarah co-devised and performed in Pollyanna, for Weeping Spoon Productions, as part of the Perth Fringe Festival. Sarah is a current member of the improvised comedy troupe The Big Hoo Haa.
Playwrights, Kendall Feaver and Brooke Robinson at atyp’s The Voices Project: The One Sure Thing, 2012, Opening Night, photo: Claire Harris.
I was a member of the 2011 Fresh Ink Writers’ Ensemble where I was mentored by Lee Lewis. I wanted to be mentored by a director because I feel like it’s sometimes ‘too easy’ to talk about writing and theatre with fellow playwrights – we have a shared jargon and experience. Instead I wanted to take the opportunity to learn how directors see playwriting and get a handle on the way they perceive and dissect plays. Lee was a great mentor who was very generous of thought and inspiration.
My first full length play, Dangerous Lenses, opens at The Old 505 Theatre on October 22nd (HTTP://VENUE505.COM/THEATRE). It’s been produced by an independent company called Impending Room, and has a fantastic team behind it. It’s a thriller about a woman who is losing her eyesight.
I’m also working on a first draft of my next play about violence and stalking, and some other projects, with the help of an Artstart grant.
One of the best things I’ve seen on stage, recently, was Simon Stephens’ new play, Morning, at the Traverse in Edinburgh. It was a reminder that theatre and writing plays need not abide by any rules and that’s the reason I choose it as the medium for my writing.
I attended atyp over the course of several years, attending classes and performing in the staged reading of Ned Manning’s Alice Dreaming. Apart from being a great deal of fun, the whole place empowered young actors; it nurtured skill and let our young voices be heard. I received the role of Alice in Alice Dreaming on the day of my fourteenth birthday back in 2004. To this day it is still a fond memory and one I take great pride in. atyp instils faith and courage in young performers and is something that should be cherished.
Anna Samson graduated from the Victorian College of the Arts in 2010. In her third year of study she received the John Tallis Award for excellence in drama. She was selected to be the graduate ensemble member at Red Stitch Actors Theatre after graduation. Here she performed in Ruben Guthrie, written and directed by Brendan Cowell, and in the World Premiere of Joanna Murray-Smith’s Day One. A Hotel. Evening.
She performed in After All This with the ensemble, Elbow Room, in 2011, for the Melbourne Fringe. After All This went on to win Best Performance in the 2011 Fringe Awards and also received Best Ensemble Performance in the Melbourne Green Room Awards.
She is currently in the Melbourne Theatre Company’s Australian Premiere of Richard Bean’s The Heretic, directed by Matt Scholten.
Later in 2012 Anna will make her performance debut at the Malthouse Theatre in Pompeii L.A. written by Declan Greene and directed by Matt Lutton.
Anna has also appeared in the television series Conspiracy 365.
Georgia Scott in atyp’s Bubble, 2002.
Georgia Scott’s productions at atyp:
Bubble, 4 Apr, 2002
The circus troupe at The Big Birthday Bash, 23 Nov, 2003 (atyp’s 40th anniversary celebrations).
Georgie Scott will graduate from the Western Australian Academy of Performing Arts (WAAPA) with an Advanced Diploma in Performing Arts (Acting) in 2012.
During her years at WAAPA, she performed such roles as Mom in Vernon God Little, directed by Sarah Giles; Nerissa in The Merchant of Venice, directed by Kate Revz; Jackie in The Boys, directed by Will O’Mahony; Betty Bernick in Pillars of Society, directed by Chris Edmund; Missy Ambrose in Clinchfield, directed by Andrew Lewis; and Ann Putnam / Sarah Good in The Crucible, directed by Michael Jenn.
Film credits include Katherena in the short film Alan Wants a Baby, directed by Mel Smith at the WA Screen Academy.
Before coming to WAAPA, Georgie worked in film and television production, as Assistant to the Producer on the Australian feature film, Beneath Hill 60, directed by Jeremy Sims, in 2008/2009.
Georgie also has a great passion for music, and plays saxophone and piano.
At atyp, Georgie played Amanda in Bubble, directed by Adam Kronenberg and Conrad Page in 2002. She attended numerous atyp acting and circus courses, and continues her circus training today, at the WA Circus School.
For atyp, George Shevtsov appeared as the Baron in Old Queen Cole, 26 Aug, 1972.
Performing in the atyp production of Old Queen Cole was my first professional gig. My second professional gig lasted 4 years – what a gift.
This is November, 2012 – I am in Sydney playing in Tim Winton’s extraordinary play Signs Of Life – perhaps one of the most important plays for Australia and Australians in this new century. It’s a Black Swan (Perth) and Sydney Theatre Company co-production, at the Sydney Opera House Drama theatre.
The best theatre I have ever seen? I can’t stop thinking about Peter Brook’s production of Mozart’s The Magic Flute – theatre pared down to its essence. Simple. Clear. Beautiful. Deeply moving. Profoundly human, honest and truthful.
My advice to young people would be that theatre is about humanity. It’s more important now than ever before in a world that is hell-bent on destruction. Put an end to war. Save this abused, glorious planet we live on.
Theatre: Black Swan: Signs of Life, Honour, Life x 3, The Crucible, Proof, Uncle Vanya, Diary of a Madman, Waiting For Godot, Dead Heart, To Whom It May Concern, Closer, Cosi, Ruby’s Last Dollar, Blackrock, The Year of Living Dangerously, Sister Girl, Miss Bosnia, Tourmaline, Midnite. Other Theatre: State Theatre Company of South Australia: The Department, Three Cuckolds, Certified Marriage, Bride of Gospel Place, Major Barbara, Coriolanus. Nimrod: Henry IV (parts I and II), Makassar Reef, Steven Berkoff’s Metamorphosis, Curse of the Starving Class, Slice. Sydney Theatre Company: The Cherry Orchard, Cyrano De Bergerac. Hole in the Wall Theatre: The Christian Brothers, Serious Money, As You Like It, Too Young for Ghosts. Deckchair Theatre: Grace, Citizen X, Twelfth Night, Romeo and Juliet, A Midsummer Night’s Dream, Much Ado About Nothing, The Comedy of Errors. ThinIce/Malthouse Theatre: Die Winterreise. Yirra Yaakin: Honey Spot. ThinIce: Red Shoes. Darwin Theatre Company: Cloudstreet. Effie Crump Theatre: Redemption. Perth Theatre Company: Gasping.
TV: Stormworld, Shark Net, WildKat, Sweat, Big Sky, Peter and Pompey.
Film: Crawl, Love Serenade, Esoterica, No Through Road, Japanese Story, Ike Countdown to D-Day, Dead Calm, Let’s Get Skase, Mr Reliable, Love In Limbo, Mushrooms, Third Person Plural.
Radio: Gull in a Green Storm/Francis Webb: Poems and Letters, Stormy Weather (Book Reading), ABC Poetica (various).
As Director: An Unsuccessful Show, 4H Club, Icarus’ Mother, Marat/Sade, The Golden Valley, Chicago Chicago, The Golden Age, Three One Act Operas: Mavra, The Human Voice, Mozart and Salieri.
Positions: Lecturer/tutor at Total Theatre, Theatre Arts at ECU , Aboriginal Theatre at WAAPA .
Awards: 1990 Swan Gold Actor of the Year award.
Training: Studied under Brian Syron.
Geraldine Timmins in atyp’s Puntila and His Man Matti, 2004. Photo: Phil Sheather.
Geraldine as an actor in atyp productions:
Beyond the Game – w/s presentation, 1 May, 1999
The Musicians, 12 Jan, 2004
Puntila and his man Matti, 14 Jul, 2004.
Geraldine is an actor, producer, writer, dramaturg and devisor who has worked professionally in Australia and the UK.
Geraldine started her acting training at atyp at the age of 11, in a summer workshop, where she met one of her best friends.
In 2010, she graduated from the Royal Central School of Speech and Drama, London with an MA in Advanced Theatre Practice. She has also completed the 10-week residency at the Steppenwolf Theatre Company in Chicago, trained at the Victorian College of the Arts in Melbourne and did a year of dance and musical theatre at Brent St in Sydney.
While in the UK, she secured a guest role on The Bill, did two shows at the Edinburgh Festival Fringe, did sketch comedy about the Arab/Israeli conflict and was a regular performer at arts club nights at the Old Vic Tunnels, the Shunt Lounge and Horseplay at Proud Gallery. She was a founding member, performer and producer with devising company The Tearaway Project and worked at world-renowned theatre company Complicite` for two years.
Jessica at atyp National Studio, 2006 (Then atyp Artistic Director, Tim Jones, right, obscured,)
Jessica is a writer, director, script editor and storyteller. She has has worked for various theatre companies and festivals including Sydney Theatre Company, Bell Shakespeare, Griffin Theatre, Darwin Festival, La Mama, Melbourne Fringe Festival, YouAreHere Festival Canberra, Bondi Feast and and Adelaide Fringe Festival, where her production of Words They Make With Their Mouths won the People’s Choice Award in 2010. Her play Tiny Remarkable Bramble was programmed in the inaugural Invisible Circus season at the Kings Cross Theatre in 2016, after an initial script development in as part of a JUMP Mentorship through the Australia Council and Carriageworks, under the mentorship of Sam Strong. In 2015 she directed Brendan Cowell’s MEN produced by Red Line Productions at the Old Fitzroy Theatre.
Jessica has read her short stories at Story Club at Giant Dwarf, Fabulous Monster, Cut and Paste and Variety Fair and was featured on the ABC’s Tall Tales and True season 2 podcast. She won the Moth StorySLAM in February 2016 and competed in the inaugural Moth Sydney GrandSLAM at the The Metro Theatre. In 2013-14, she co-hosted and produced 2SER’s The Vultures’ Nest, I Can’t Believe it’s Not News and co-hosted the Saturday Breakfast show. In 2017 Jessica wrote and directed short film Smorbeth.
Jessica completed a Master of Creative Writing at the University of Sydney in 2015 and before that studied screenwriting at AFTRS and directing at NIDA. She completed a B. Arts (Philosophy) in 2004 at the University of Sydney.
Jessica was involved with atyp from 2002-2006, through acting workshops and master classes, assistant-tutoring, working in the office, script development and a number of productions. She appeared in the premiere of Debra Oswald’s Skate in 2003, touring South-West NSW, and returned for the Belfast Festival season of Skate in 2005. In 2006 she was the assistant director on Craving, a devised project performed in the Richard Wherrett Studio, Sydney Theatre, and she wrote Marmite and directed Bird for rehearsed readings at the Old Fitzroy Theatre. She performed in Hilary Bell’s Light Years, directed by Lucy Bell, and the atyp 40th Birthday celebration, The Big Bash. She was involved in the development of Debra Oswald’s Stories In the Dark, Noelle Janaczewska’s This Territory, and performed in a reading of Shedding for the Fresh Ink National Young Writers’ Program in 2008. Jessica represented atyp at the 2006 National Studio (the previous version), working with Lindy Davies and Gavin Robbins and meeting current atyp Artistic Director, Fraser Cornfield! Jessica returned to atyp in 2010 for a limited season of the award winning Words They Make With Their Mouths and again in 2012 to direct a reading of Melissa Bubnic’s Emoticon for the Under The Wharf script reading series.
NADINE VON COHEN
Nadine Cohen appeared in atyp’s Standing Room Only, 26 Jan, 1997 – a Street Theatre production, devised and directed by Julian Louis, at Circular Quay, and various CBD locations.
Nadine is an award-winning writer, and co-Founder of photo management tool The Photo Diner. She swears a lot but wishes she didn’t.
I took classes and workshops at atyp from the early–mid 1990s. These were mostly acting classes, but I also did circus skills, movement, lighting, playwriting and stage management courses.
Although I never did an official production, I performed in many street and guerrilla theatre troupes with the company. And I loved it.
I would say atyp had quite a large and positive effect on my life. Some of my fondest memories are from those halcyon days, and some of my closest friendships were formed by that wharf.
I now run my own business and am also a writer/columnist for several online publications and magazines. I write about fashion, entertainment and myself (my experiences and opinions), and I also critique theatre every now and then.
Even though I didn’t pursue acting after high school – as was my plan – I never cut the cord entirely. I remain an avid theatregoer and many of my friends are still in the industry.
The best thing I have ever seen on stage? I have so many favourites among the shows I have seen over the years. But I would rate my absolute, all time fave as Waiting for Godot with Sir Ian McKellan and Roger Rees. I was so enthralled and delighted by the production and the splendour of Sir Ian that apparently I had a smile stuck on my face for the entire show.
My advice to young people who want to take on the theatre world? Go for it! It is not an easy life to choose – the money is terrible and the work often scarce. But if it is your passion, if it is in your blood, than you have no choice, do you?
Rachel Weiner’s career at atyp:
Gossip, 14 July, 2007
VX18504, 23 July, 2008
member of atypical Board.
Rachel Weiner is a physical movement artist working as a performer, a choreographer and a movement coach in Sydney. Trained in Classical Ballet, National Character Dancing, Contemporary Dance and Rhythmic Gymnastics, Rachel first started at atyp in 2004 with an acting workshop before taking part in the atyp creative development, Gossip [Director: Meryl Tankard]. Her first atyp production was the 2008 season of VX18504 [devised and directed by Meryl Tankard] performed at CarriageWorks. Rachel has also been an active member of the atypical board, as a founding member since its initiation.
Rachel has performed in Woyzeck [Netta Yashchin/Arts Radar] for B Sharp and Brisbane Festival’s ‘Under the Radar’; Freedom to Launch [Anton] and Special Mention [Luke George & Bec Reid] with danceTANK/Stompin at the Sydney Opera House; and self-devised Homunculus and In my feet at Shopfront Contemporary Arts & Performance.
Rachel has completed a Bachelor of Arts (Hons Class I) in Performance Studies and Film Studies at the University of Sydney, the ArtsLab11 Artist-in-Residency and YAK 2012 Summer Residency with Shopfront Contemporary Arts & Performance, and is also an accredited Rhythmic Gymnastics coach, judge and performer.
Many of my first theatrical experiences happened at atyp. From all-day workshops and evening rehearsals, to being the ‘Pin-Up Girl’ at many fundraising functions and receiving a Golden Coat Hanger for being ‘Queen of Organisation’, atyp has been the reason I have pursued a life and career in the Performing Arts.
Rachel hopes to further her studies in theatre, dance and hybrid forms of performance.
Felix Williamson’s career at atyp:
… as an actor:
A Child’s Christmas in Australia, 16 Dec, 1982
The Rainbow Show, 21 Mar, 1983; 8 Apr, 1983
Australia-Go-Round, 25 Jul, 1983
Spring Awakening, 1 Jun, 1984
The Night We Blitzed the Bridge, 11 Jan, 1985
Just Once, 17 Jul, 1986
The Tempest, 21 Apr, 1988
The Wilderness of Mirrors, 13 Dec, 1999
Shedding, Fresh Ink National Young Writers’ Program Staged Readings, 17 Nov, 2008;
… as Tutor, 1997-2009;
… and as Director: The Actor’s Nightmare and Sister Mary Ignatius Explains it All for You, 13/1/1999, for studio one, an initiative in partnership with Liz Fell. It was a collaboration aimed at promoting young adult (18-25) actors, writers, directors, designers and technicians, by producing in-house works for public performance.
I went to atyp from about age 13 to 17. I did lots and lots of classes. It meant the world to me. I worked with friends who ended up in my year at NIDA, like Grant Bowler and Emily Nevin Crook. And one who didn’t – Nicole Kidman – I think she works in a shop now, or something…
I was involved in lots of productions, The Rainbow Show (which played at the Art Gallery of NSW), Spring Awakening (before the musical – the original play), and I had a brilliant time working on The Tempest back in 1988, directed by Mark Gaal. We played at the Old Sailors’ Home theatre, a brilliant intimate space, with an excellent ensemble of actors. The funny thing is, I run into lots and lots of people I met at atyp; it seems like the ultimate training ground for people in the business. When I finished NIDA I started a theatre company (Naked Theatre Company) and we put on our first plays at the current atyp space. I have also had the privilege to work as a teacher at atyp. It is a great institution.
My theatre credits include: The Virgin Mim, Mr Kolpert, Up for Grabs, Pygmalion, Six Degrees of Separation, The Rise and Fall of Little Voice (STC), The Merchant of Venice (Bell Shakespeare Co), Elegies, Bouncers (Threshold), Sanctuary (Playbox), Sun Kisses (Railway). The Heartbreak Kid (Ensemble).
For film: Happy Feet, Ned, The Rage in Placid Lake, Dirty Deeds, Willfull, Mr Accident, Me Myself I, Strange Planet, Babe II, The Thin Red Line, Welcome to Woop Woop, Thank God He Met Lizzie, The Wannabes, Bust Off The Wings, The Great Gatsby, Red Inc.
For TV: Lost, R.A.N, Go Big, Farscape, The Road From Coorain, My Brother Jack, A Difficult Women, Wildside, Hawke, Mabo, Miss Fisher’s Murder Mysteries, The Mystery of a Hansom Cab.
Q. What would be your advice to young people wanting a career in theatre?
Don’t do it if you just want to be famous. Become a white-collar criminal and sell the film rights to your story once you get out of gaol, or go on Reality TV. If you want to be an actor you need LOTS of strings to your bow. You need to be able to sing, play a musical instrument, dance, juggle, speak another language, write, direct, do any number of accents and most of all have a sense of humour. It is a tough business and life, but if you don’t take yourself too seriously, you’ll enjoy it!
Ben Wood’s productions at atyp:
What the Umbrella Did Next, 19 Jul, 2003
17, 23 Apr, 2005
Skate – return 8/10/2005
Skate – Belfast Tour, 27 Oct, 2005
Snapped, 9 Jul, 2006
The Chicken or the Egg, 9 Jul, 2006
Ben Wood was a student of the Australian Theatre for Young People (atyp), and as a young actor, performed in many of their productions including What the Umbrella Did Next (atyp Studio 1, The Wharf), 17 (atyp Studio 1, The Wharf) and 3 Little Fears (Old Fitzroy), and toured internationally to the Belfast Arts Festival with their production of Debra Oswald’s Skate.
His numerous other stage credits span all forms of theatre, and include Twelfth Night (Bell Shakespeare), As You Like It (Sport for Jove), Hamlet, Macbeth, A Midsummer Night’s Dream, La Dispute, The Europeans, Bad Jazz (Darlinghurst Theatre Company) and many more. He is about to be directed by John Bell in the upcoming The Duchess of Malfi for Bell Shakespeare.
Ben is no stranger to the screen either, having appeared in the final season of All Saints, playing the rescue paramedic Troy Sanders, Underbelly III: The Golden Mile, and in series 2 of Rescue: Special Ops. He has also appeared in the telemovies, A Model Daughter and Scorched, various other TV series including, My Place, Love My Way and Sea Patrol, the feature film Footy Legends, award-winning short films, Wall Boy and Dream The Life, and will be seen in Silverchair’s Daniel Johns’ first filmic venture, My Mind’s Own Melody.
Ben is a proud member of Equity.