Congratulations to Cameron’s clients Margot Wilson, Veronika Jenet, Steven Jones-Evans and John Scott, whose terrific work will be showcased at The Toronto International Film Festival as part of the festival’s 40th anniversary lineup.
Featuring costumes by Margot Wilson, production design by Steven-Jones Evans, and editing by Veronika Jenet, Simon Stone’s The Daughter is included in the official 2015 selection, making TIFF the home of the film’s North American debut.
The Dressmaker, directed by Jocelyn Moorhouse, will have its world premiere in Toronto, featuring exquisite costumes designed by Margot Wilson for the film’s key character played by Kate Winslet.
John Scott edited Wayne Blair’s Septembers of Shiraz, the much-anticipated adaptation of the best-selling novel of the same name, with the thriller also having its international premiere at the festival.
TIFF is one of film’s most prestigious events and is widely regarded as the most influential event of its kind. The festival will run September 10-20, 2015.
The 48th Annual AWGIE Awards have just been announced and we are delighted to congratulate the following nominated clients:
TELEVISION MINI-SERIES – ADAPTATION
The Secret River – Mac Gudgeon, Jan Sardi
TELEVISION – MINI-SERIES – ORIGINAL
The Kettering Incident – Andrew Knight, Vicki Madden, Cate Shortland, Louise Fox
Love Child: Series 2 – Tamara Asmar, Tim Pye, Cathryn Strickland, Chris McCourt, Jane Allen
TELEVISION – SERIES
Offspring: Episode 510 – Leon Ford
FEATURE FILM – ORIGINAL
The Water Diviner – Andrew Knight & Andrew Anastasios
FEATURE FILM – ADAPTATION
Holding the Man – Tommy Murphy
RADIO – ORIGINAL BROADCAST
The Other Polish Explorer – Noëlle Janaczewska
COMMUNITY AND YOUTH THEATRE
The Gap – Patricia Cornelius, Angela Betzien, Melissa Reeves
The AWGIE Awards are presented by the Australian Writers’ Guild and celebrate excellence in Australian performance writing. The 2015 Awards ceremony will be held Friday 11th September at Doltone House, Hyde Park Sydney.
For the full list of nominees, click here.
Based on the successful books written by Danny Katz and illustrated by Mitch Vane, Little Lunch is a series of funny and touching adventures about fifteen highly significant minutes of a child’s life.
Sydney Morning Herald‘s Melinda Houston reviewed the show saying:
The production is full of small touches that are laugh-out-loud. And perhaps the most enjoyable aspect is it’s so clear that the kids themselves are completely in on the joke, and having the time of their lives.
To view the trailer, click here.
The entire series of Glitch, the new six-part drama directed by Emma Freeman and written by clients Kris Mrksa and Giula Sandler (with showrunner Louise Fox), is now available to screen on iview after premiering last night on the ABC.
The paranormal drama stars Patrick Brammall, Genevieve O’Reilly and Emma Booth, and unravels the mystery surrounding six seemingly-unconnected people who have inexplicably come back from the dead.
“What’s so nice about Glitch is the way our characters enrich the plot. Under Director Emma Freeman’s hand the cast play for truth, rather than the default alternative of letting the plot overwhelm them. Whether ‘undead’ or living, these confused souls are etched in reason, subtext and flaws.” (TV Tonight)
Set in the fictional Australian country town of Yaroona, Glitch distinguishes itself as a rare example of high-concept Australian television, utilising its supernatural genre to explore themes of love, redemption, identity, retribution and forgiveness.
In addition to the series’ availability on iview, audiences can also watch Glitch Thursday nights at 8:30 on ABC. The show’s multiplatform mode of accessibility is a ground breaking moment for Australian TV as it takes a step towards embracing the modern watching behaviours of today’s audiences with a nod to the Netflix model of streaming while also allowing audiences the option to tune in weekly.
SHIT by Patricia Cornelius, opened as a part of the Melbourne Theatre Company’s NEON Festival of Independent Theatre.
The reviewers are saying:
“it’s heartening to see her (Patricia Cornelius’) latest play, Shit, become a highlight of this year’s Neon Festival of Independent Theatre… Shit is provocative and tragic, bracing and bitterly funny. It’s the sort of bold theatre that will have us confronting our own prejudices; that forces us to acknowledge these things of darkness ours.
The Age/ Sydney Morning Herald – Cameron Woodhead
Shit is astonishing independent theatre. I don’t understand why every theatre company in the country (and beyond) isn’t competing to get the next Patricia Cornelius and Susie Dee play…. Cornelius’s writing leaves me shaking. Her dialogue sounds natural but it isn’t like spoken language. She makes the profane poetic and lets language be so much more than words with assumed meaning. Her text has shape and rhythm and feels like it’s beating to the heartbeats of her characters. It makes us listen to every “fuck” and “cunt” – and there are many – and really hear what they mean. And she only tells what needs to be told, leaving the subtext and the untold as the voice on stage that sneaks into your guts and doesn’t let go.
This Shit is why we go to theatre. This Shit is real… It’s astonishing theatre that needs to be presented as far as it can be seen. It’s unmissable.
AussieTheatre.com – Anne-Marie Peard
It dares to put three female characters on the stage who are rarely, if ever, given a theatrical voice. Rough, rude and irrevocably damaged, they are the kind of people most theatre goers would cross the street to avoid but, under the rich talents of the playwright and the extraordinary direction of Susie Dee, they make a compelling and heartbreaking subject…. Cornelius’s particular talent for turning flat, realistic speech into a kind of heightened street verse is on immediate display.
Shit is pretty much the shit. It conveys a world most of us would rather ignore, but it manages to do so without condescension or earnestness or cant. Cornelius and Dee have worked together for many years, and their humanity and skill have produced a killer play. It’s easily the best thing audiences have seen in the independent sector this year, and would make a stunning double bill with a trimmed down Savages on MTC’s main stage next year. In the meantime, audiences should flock to it while they can.
Time Out Melbourne – Tim Byrne
Cornelius is most interested, now as ever, in the connections between social stratification and anti-social behaviour. Here her particular theme is the is the oppression of women. And it’s pretty grim stuff: the accumulation of pain, humiliation, self-loathing and fear. And yet there’s something unexpectedly joyful about this latest production for the MTC’s Neon Festival of Independent Theatre.
Daily Review (Crikey) – Andrew Fuhrmann
Patricia Cornelius’ writing is economic, punchy and pointed…. It’s visceral and it’s a portrait of and a plea for these disregarded, written off, sub-bogan women who, of course, have histories that have beaten them into the shape Cornelius and Dee present to us with so much insight, but without apology.
Stage Whispers – Michael Brindley
To view a video of Patricia and Susie Dee talking about the play, click here.
For more information or to book tickets, click here.
David Williamson‘s Rupert opened over the weekend for the Auckland Theatre Company’s production.
ATC describes the play: Williamson’s irreverent and irresistible exposé of media, money, power and politics is sure to be 2015’s maverick theatrical event.
This is the show’s first international production following the success of the Melbourne Theatre Company’s season and transfer to Washington as well as Sydney’s Theatre Royal (produced by Daniel Sparrow).
For more information or to book tickets for the ATC’s season, click here.
Congratulations to Tommy Murphy on the World Premiere of Holding the Man which screened last night as the Closing Gala for Sydney Film Festival. The film is based on Timothy Conigrave’s bestselling memoir is an intimate account of his relationship with John Caleo, Tommy also penned the stage adaptation.
The reviewers are saying:
“the script crams in incident but feels light as a feather, and refreshingly free of maudlin sentiment.” The Hollywood Reporter
“Armfeld and Murphy show strength in their cultivation of intimacy, honesty and authenticity. The affection they depict is never less than moving, as conveyed through dexterous lead performances.” Screen Daily
“Holding the Man matches humour with devastation” Sydney Morning Herald
“the film is a funny, warm, gentle and understated affair which never shies away from the scale of the love story it portrays” Crikey – Daily Review
This production is contemporary, vital and mesmerizing…. Director Richard Cottrell allows his cast to animate the characters with energetic personality, while never giving way to self-indulgence or time wasting… Scenes progress with speed and imagination and the story feels effortlessly alive. Sport for Jove has grasped this play, coloured and shaped it into a living whole. It’s a pleasure to discover it with them.
Australian Stage – Daniel Morgan Potts
Cottrell’s production is characterised by outstanding clarity. The play is delivered crisply and clearly; emphasis is placed on ensuring that as few lines as possible slip out of the actor’s grasp.
Director Richard Cottrell moves the show along at a comedy clip; the tragedy happens in quieter moments, never missed or fully overshadowed, but never maudlin. It’s an invigorating take on the play, it’s clever and sophisticated.
AussieTheatre.com – Cassie Tongue
For more information on the production, click here.
Congratulations to Gary Foley who has been awarded The Red Ochre at the Australia Council’s 8th National Indigenous Arts Awards for his outstanding contribution to, and lifetime achievement in, Aboriginal and Torres Strait Islander arts. The awards were held last night at the Sydney Opera House to celebrate the involvement of Indigenous artists in propelling the artistic vibrancy and cultural life of Australia.
According to Australia Council Board Director Lee-Ann Buckskin, Gary was chosen as 2015’s Red Ochre Award recipient for his “pioneering work in Indigenous theatre, television, film, arts, culture and academia.”
“Gary Foley has been at the forefront of Indigenous arts, beginning with his acting debut in the revue Basically Black in 1972, various films and television series.
He has left a lasting legacy across Australia’s cultural and political landscape and is in the unique position of not only being part of history but also shaping it.”
To read more about the awards and Gary, please click here.