Welcome to Season 2010! Queensland Theatre Company has just announced its 2010 Season with much to look forward to. See lives transformed on stage as characters discover family secrets, fall in and out of love, follow their dreams and even spin straw into gold. Click here for the 2010 Season Media Release or here for the Season Brochure.

Morgan Dowsett is set to direct Neil LaBute’s Fat Pig for QTC in 2010, with Renée Mulder back on board as Designer.
Fat Pig will run for 4 weeks from June 3-26, with 3 previews on May 31st and June 1-2. Click here for the full Fat Pig Media Release and what Morgan had to say about the play, or simply click the image below to take you straight to the site.

FAT PIG

by Neil LaBute

When Tom meets Helen in a crowded restaurant, their chance encounter soon develops into a full-blown romance.
Helen is beautiful, smart, funny and just a little on the large size.  But to Tom’s self-obsessed work buddies, she’s just plain gross.
As office gossip about their relationship turns increasingly malicious, peer pressure leads to question whether his love for Helen outweighs the shallow stereotypes of his workmates.

Director: Morgan Dowsett
Designer: Renée Mulder
Cast includes: Paige Gardiner, Amy Ingram, Steven Rooke, Christopher Sommers.

Venue: BILLE BROWN STUDIO
Running Time: 1 hour 45 mins (no interval)

NIDA’s 2008 graduating directors, THEATRE FORWARD, presents two programs of short plays collectively titled – EMERGENCY- These six plays will be performed over four nights in two separate venues.

26 to 29 November 2008 at 7.30pm
(matinee 29 november at 2.00pm)

Please note > Space Program and Studio Program run concurrently. You are invited to attend both programs on two separate nights of your choice.

SPACE PROGRAM

david harmon directs
and tell sad stories of the deaths of queens
by tennessee williams
worlds collide when a fading transvestite meets a young merchant seaman, new orleans mardi gras, circa 1950.

morgan dowsett directs
in the solitude of cotton fields
by bernard-marie koltes (trans. jeffrey wainright)
a dealer and a client meet up in a no man’s land where time and space weave in and out of existence.

sarah giles directs
the bald soprano
by eugene ionesco (trans. tina howe)
a thoroughly british evening in great britain. the fire captain arrives unexpectedly.

STUDIO PROGRAM

kate revz directs
fortune and men’s eyes
by john herbert
four juveniles locked up in detention and fantasy. shakespeare and drag make a guest appearance.

imara savage directs
this property is condemned
by tennessee williams
memory is a queer thing when a girl meets a boy on the railroad tracks one milky-white morning.

mark grentell directs
how i learned to drive
by paula vogel
the strained and sexual relationship between a girl and her uncle, and then there’s her family.

RSVP ESSENTIAL
(p) 9697 7613 (e) boxoffice@paradetheatres.com.au by 12 november 2008

For more information, visit www.nida.edu.au.

Harry’s Christmas opened and closed within the space of an hour last Saturday at the Playhouse Studio, NIDA. Which sounds kind of bad, but since there was only one planned performance and it sold out so it’s actually totally fine.

Harry’s Christmas, 2008, Directed by David Harmon. Designed by Aron Dosiak.
James Elliott and Alexander Russell.
Lighting by Richard Whitehouse. Photography by Kate Revz.

Harry’s Christmas was a rehearsal/performance project based on the text of Steven Berkoff’s monologue Harry’s Christmas. It was directed by David Harmon and designed by Aron Dosiak. The play was performed by James Elliott and Alexander Russell. Production management, lighting and sound was designed, installed and operated by Richard Whitehouse, with assistance from Aron Dosiak

During the holidays I got together with a group of 11 students and workshopped Face to the Wall, the middle of three short pieces that make up Martin Crimp’s trilogy Fewer Emergencies.

We explored the text through improvisation, movement, music, live feed camera work, mask work and textual analysis.  This work in progress was performed for the school at the beginning of Semester 3. What we came up with was a hugely collaborative, brave exploration of the piece that pushed boundaries and challenged every artist involved.

I wanted to take the chance whilst at NIDA to really push myself, my thoughts on form, performance style, rehearsal technique, text and my own practice as a director. Face to the Wall gave me that opportunity.