Performance Credits


Confidante

Student-Initiated production, University of Wollongong
12-14 March 2014
Role:  Co-Devisor, Performer

I’m too large for you… my body, my ego, my thoughts, my desires…

Devised in collaboration with the performers: Cheryn Frost, Emma Hughes, Georgia Broderick and Louisa Raft.  Directed by Catherine McNamara.

Confidante explores the uncensored female body and mind – both at peace and in chaos.  A Mother finds a fraction of a moment to sit still.  A Singer makes her apocalyptic emergency plan.  A Dancer grows lotus flowers from her toes.  An Actor contemplates her lifelong love affair with cheeseburgers.

Four stripped-bare women perform a devised work that swings rapidly from ritualised dance to personal phobia… from sombre reflection to impersonations of Beyonce. They let their jiggly parts run free and expose their hilarity, their sorrow, their power, their vulnerability.

Images:  David Kaldor

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Fifty-Five See

Viva La Gong 14 November 2015
PACT Unwrapped 12 December 2015
Nocturnal Arts 24 February – 5 March 2016
Role:  Co-Devisor, Co-Producer, Performer

A performance installation combining movement sequences and verbatim text collected after spending a cumulative 11 hours on Wollongong’s 55C Free Shuttle bus, observing passengers and eavesdropping on discussions.  Fifty-Five See is a reflection on everyday interactions and the language of public transport.

Devised and performed by Louisa Raft, Bonnie Cowan, Kate Pimblett, Carlee Heise and Romy Bradmore.  Produced by Louisa Raft and Bonnie Cowan. Sound design Lindsay Martin.

Originally commissioned for Wollongong City Council’s Nocturnal Designs festival, the piece was adapted for Wollongong’s Viva La Gong festival and PACT’s Christmas fundraiser, PACT Unwrapped, and was presented in full at the extended Nocturnal Arts festival in Wollongong, February/March 2016.

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Plunge

University of Wollongong graduation production
7-10 October 2015
Directed by Linda Luke
Role:  Co-Devisor, Dramaturg, Performer (Eurydice’s Mother)

Inspired by surrealist French filmmaker Jean Cocteau, Plunge spins a compelling new tale inspired by iconic legends Orpheus and Eurydice. Delving into all the meta-themes of tragic drama but with a contemporary burn: an opera diva, a marriage proposal, a fall from grace, love, grief and the liminal zone between death and life – a place where the arrow of time can be reversed. Can you restore what is already broken? Or should we, like Cocteau, embrace the inevitable?  Drawing from Cocteau’s stunning 1950s film Orpheus, utilising video and an originally composed soundscape to create the scenography and combining dynamic movement scores with texts written by the cast and snippets from Cocteau’s screenplay, Plunge presents a collage of ideas to harness and develop contemporary performance practice.

Images:  Danny Priestley and Katie Charlton-Jones

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Rites of Passage

Feature Film
Directed by Phillip Crawford
Produced by Beyond Empathy Films
Role:  Mother who is sick

Made with a message of hope, Rites of Passage is a raw, uncensored and honest film inspired by the life experiences of the young people involved in the making of this powerful feature-length drama. Six interwoven stories show these teenagers negotiating the dangers and discoveries of their age and because the cast were also the crew what emerges is a self portrait of resilient kids responding to the challenges surrounding them.

They might live in public housing and come from families that have seen disadvantage and hardship. But with frankness and courage, these young people have dipped below the surface of their often tough exteriors to reveal what’s going on inside their lives.

IMDb record including full cast list, awards and reviews – here

University of Wollongong media story – here

Illawarra Mercury story – here


The Velveteen Rabbit

Tilkin Dilkin Studio / Imaducation Inc
19-20 December 2015
Role:  Skin Horse

A child receives a Velveteen Rabbit for Christmas. The other toys in the child’s room snub him and think themselves real and better than the Rabbit. One day, while talking with the Skin Horse, the Rabbit learns that real is not how you are made. He is told that a toy becomes real, if and when its owner really and truly loves it.  Adapted from the children’s classic by Margery Williams.

Review by Lynne Lancaster, Sydney Arts Guide.

Rehearsal video

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Lear

Wollongong Theatre Company
29 April – 9 May 2015
Role:  Goneril, Dramaturg, Publicity

An aging monarch decides to retire and divide his kingdom between his three daughters. The grander their public declaration of love, the better their share of the kingdom. But one won’t play that game, and the King, his kingdom and his family are undone.  Abridged and adapted from William Shakespeare’s King Lear.

Press

Images: Olav Lehmann

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The Merchant of Venice

Phoenix Theatre
14 February – 1 March 2014
Role:  Nerissa

A production of William Shakespeare’s classic on love and money and a debt to paid with a pound of flesh, directed by Tim Allen,  kicking off a year of celebrations for the Bard’s 450th birthday at the Phoenix Theatre, Coniston.

Images:  Peita

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