2015 Directors

 graduated from the Victorian College of Arts in 2007 with a Bachelor of Dramatic Art (Acting). Since graduating, Ben has divided his time equally between his passion for acting and directing. He launched his company The Artisan Collective in 2009 and they have produced nine projects within that short time. Directorial credits for The Artisan Collective include: TWO by Jim Cartwright, the critically acclaimed production of SELF TORTURE AND STRENUOUS EXERCISE, the Australian premiere of Martin Crimp’s PAINS OF YOUTH at the CUB Malthouse, and the world premiere of IF IT BLEEDS by emerging Australian playwright Brendan McCallum. Ben directed and designed the premiere of THE COLLECTOR at the Collingwood Underground Arts Park, which was adapted from the Fowles novel by The Artisan Collective associate Kristina Brew. In 2014, The Artisan Collective brought the world premiere of an original Australian work, REQUIEM FOR DALINKA to Melbourne audiences.

CRAIG MATHEWSON lives in the desert of central Australia, in Alice Springs.Craig Mathewson In 2001 he founded and worked as Artistic Director for the intra-cultural theatre company Red Dust Theatre. For RDT he commissioned and directed new and challenging scripts on local stories, characters and events, including the cross-cultural productions TRAIN DANCING (Adelaide Festival), BARRACKING (touring remote Aboriginal communities) and UNDER THE RAINTREE. Craig wrote and performed two oneman shows at the Araluen Theatre; WAITING FOR GRACE and A PLAY IN THE DARK. Other works Craig directed for RDT include DUST, THE FUTURES and DREW’S SEIZURE. Over the years Craig has worked with many indigenous communities and a variety of Aboriginal organisations delivering video and performance-based community projects, including COME TOGETHER, an indigenous youth festival for the remote communities of the Western and Eastern desert language groups of Luritja, Western Arrernte, Walpiri, Pintubi and Pitjantjatjara. When based in Germany, Craig toured theatre work for three years as director and tour manager for ADGE American Drama Group Europe, presenting in theatres across many cities including Stockholm, Tokyo, Hong Kong, Istanbul, Barcelona. Craig has a Bachelor of Arts in theatre from Western Sydney University and an MFA in Film from CALARTS (California Institute of the Arts in Los Angeles).

DEBORAH LEISER-MOORE is a critically acclaimed performance maker and director whose bold works use multiple theatrical languages to investigate culture, memory and identity. Her recent work, KABOOM: STORIES FROM DISTANT FRONTLINES was presented at fortyfivedownstairs and recently at the Alice Desert Festival. It was a sold out season and was described as, “A moving and thoughtful response to the issue of war with genuine theatricality that also hits us in the solar plexus. Experimental but accessible. Emotionally powerful” (Time Out) In 2015, Deborah directed (and performed in) Chi Vu’s THE DEAD TWIN, which she staged as a promenade performance at FCAC. The piece, which uses the horror genre to explore the trauma and memory of war, was presented as part of Theatre Work’s FLIGHT Festival of New Writing in collaboration with FCAC. It received rave reviews and Deborah’s direction was described as “masterful”. Other works include CORDELIA, MEIN KIND (which has toured extensively internationally), A ROOM WITH NO AIR (with Regina Heilmann), HUNGRY, THE COOL ROOM and HAZCHEM! Deborah has toured nationally and internationally. In 2014 she worked with Richard Schechner in New York on his new promenade work, IMAGINING O (Peak Performance Festival), receiving a rave review in the New York Times. In 2015, Deborah returned to New York to work with Melissa Riker (Kinesis Project Dance/ Theatre), developing a new site-specific work, IN PERSISTENCE OF MEMORY. A showing was presented at Riversdale Park and the full work is slated to premier in New York in 2016.

DEBORAH MAGID Playwright, director, composer, lyricist,Deborah MagidBroadway actor/singer, journalist, tech writer/ editor, poet, and all-round energetic sort, Deborah is a member of Cleveland Play House Playwrights’ Unit, Dobama Theatre Playwrights GYM, and is a Cleveland Public Theatre Artist. Deborah co-founded ICWP’s 50/50 Applause Award for gender parity in theatre while serving on their Board of Directors, and is a Dramatists Guild and League of Professional Theatre Women member. Deborah’s works comprise drama, comedy, musical, sci-fi, rock opera, chamber opera, and RICHARD WAGENER’S ENTIRE RING CYCLE IN TEN MINUTES WITH SOCK PUPPETS. Her theatre musings can be found at miseentheatre.wordpress.com.

EMMA McMANUS is a director, musician and theatre-maker. AsEmma McManusone-eighth of performance collective Applespiel, she has created APPLESPIEL MAKE A BAND (Malthouse, Performance Space), AT THE REQUEST OF CARL SAGAN (Next Wave), STATIONS OF THE CROSS (Underbelly Arts), SEXY NEW URBAN DESIGN TEAM (Sydney Festival, You Are Here, Tiny Stadiums) and 24-hour performance protest IN PURSUIT OF EXCELLENCE (PACT). Emma is the co-founder of feminist/queer theatre trio His Three Daughters for whom she has directed CARLY AND TROY DO ‘A DOLL’S HOUSE’ (PACT, YAH, Crack-TINA, Woodcourt Art Theatre, Adelaide Fringe – Winner: Bank SA Emerging Artist Award) and directed and composed music for RAGNARÖK/OR HOW IT ENDED (Shopfront) and FINGER YOUR FRIENDS (Bondi Feast, YAH, Crack). In 2013, Emma was a Playwriting Australia Dramaturgy Intern and the Civic Life artist-in-residence at Shopfront Contemporary Arts. This year she traveled to Manila for Sipat Lawin Ensemble’s international artist exchange program and undertook Malthouse Theatre’s Besen Family Artist Program placement in directing on Lally Katz’s TIMESHARE, mentored by Oliver Butler (The Debate Society, New York). In addition, she was assistant director for Sisters Grimm’s LA TRAVIATA (Belvoir). Emma holds a Bachelor of Creative Arts Honours (Class 1) from the University of Wollongong.

  heads up Candlelight Productions, a non-profitorganisation that utilises the arts to build community and strengthen culture. He is passionate about empowering people to use their gifts to positively impact the world. Eugene’s experience as a performer spans three decades in theatre, film, TV and radio. He currently consults as a theatre director and teaches masterclasses on event management. Eugene produces theatre because he knows how powerful the arts can be in changing culture and facilitating healing. He employs a process-driven approach in creating shows and loves sharing the journey with his creative team.

Eugene likes finding links between seemingly discrete pieces of information and creating poignant moments that speak into the human condition. His directing style is usually collaborative, quite visual, and aimed at creating immersive experiences which break the fourth wall and spill out into the audience.

 is a Greek director, actor andimgres creator of performances who lives and works in Athens. In 2011, he founded the Urbn Theatr, an experimental theatre company based in Athens that has had presented various performances and shows in Athens and London. He is member of Lincoln Center Theater Directors Lab in New York and recently he has been working with Room One production studios in London. As an actor he has participated in a variety of performances in collaboration with a few of the most important Greek directors and theatres, including T. Moschopoulos and G.Lanthimos in settings such as the National Theatre and Edipaurus Festival. Ilias studied at the Drama School of Athens and he has a Bachelor in Arts in Humanities in the section of European Civilization.

IRENE DEL PILAR studied acting and directing at the ChekhovChambre Theatre of Ángel Gutiérrez in Madrid, where she built her foundation in classical theatre. As a dancer, she has studied dance theatre with a particular interesting the Rudolf Von Laban technique. Irene has studied Humanities at the Charles III University of Madrid; Art, Music and Performance at Roma Tre University, Italy; Cinema and TV at the Charles III University in Madrid; and has had acting and directing lessons by prestigious Spanish filmmakers including David Trueba, Miguel Albaladejo, Enrique Urbizu, Fernando Colomo, Vicente Aranda. Now Melbourne-based, as a director Irene has developed & produced the HOME SWEET THEATRE COMMUNITY PROJECT, staging a postmodern Chekhov adaptation for the Melbourne Fringe Festival, as well as RIFT for Blink Dance Theatre, ANGST, produced by Spanish Australia Magazine, RAPUNZEL’S COUSIN for European Languages Theatre Festival and Spanish Consulate, ALMOST LOVE ON SYDNEY ROAD for the Sydney Rd Short Film Competition, MR RIGHT for Australian Centre of Performing Arts, and HEATING AND ICE-CREAM, in which she created and co-directed online videos for Starbucks viral marketing, receiving millions of visits. As performer, Irene has been involved in HOUSE HUSBANDS (TV Series), VENIZE IN LOVE by Rosa Campagnaro Make a Scene Commedia dell’ arte company, UN BALLO IN MASCHERA by Verdi produced by La Fura del’s Baus and Opera Australia, BLOOD WEDDING by Federico Garcia Lorca, directed by Marion Potts at the Malthouse Theatre, and CRIME AND PUNISHMENT, a January Films production directed by Andrew O’Keef.

is a French theatre director based in Melbourne urlsince 2011. In Paris, she graduated in Acting at the Cours Florent (2007) and in Scenography at the prestigious National School of Decorative Arts (2009). In France, Iris produced and directed work by Botho Strauss and R-W Fassbinder, which successfully toured the country. She also performed in several plays, short films, and television shows. Since she moved to Melbourne, she started to work in independent theatre, directing classics but also collaborating with emerging playwrights. She has directed BRIGHTER/WHITER by Anthony Noack (Comedy Festival, 2011), short plays by Molière (MFT 2011) and BANANA REPUBLIC by A. Noack (Fringe Festival, 2012). In 2013, She led THE GINA PROJECT, an audience participatory work-in-progress based on Gina Rinehart’s persona, shown at La Mama as past of Explorations. In 2014, she obtained a Postgraduate Diploma in Theatre Directing at the Victorian College of the Arts and was the recipient of the 2014 Creative Scholarship. As her graduate show, she directed THE PRODIGAL SON by Jack Hibberd. In May 2015, Iris directed IN THE DARK written by Georgia Symons, a live game/theatre hybrid as part of the Brunswick Mechanics Institute Live Works season curated by Metanoia and Lara Thoms. Iris focuses her practice around the idea of designing transformative experiences able to shift people’s perception. She is exploring new immersive forms of story-telling, and she is investigating ceremony and ritual as modes of performance.

 is a performing artist of more than twenty-fiveyears experience. Having trained in dance at the Victorian College of the Arts, he has worked in dance, dancetheatre, theatre and community art across the country as a performer, creator, director and curator. More recently, he has presented his works for PIAF, PICA, Awesome, Blueroom, DADAAWA and Artplay. James’ award-winning one-on-one theatre work & installation TAWDRY HEARTBURN’S MANIC CURES (2009) has been seen at major festivals across the country including Perth International Arts Festival, Sydney Festival, Brisbane Festival, Ten Days On The Island, WOMAD, Enlighten and the Adelaide Cabaret Festival. He has made numerous children’s work for WA’s Awesome Festival and PICA’s Spark_Lab program, which tour nationally. James is the instigator and co-founder of Proximity Festival, Australia’s first festival of one-on-one performance. He was a co-founding director of Tracksuit, WA’s adult disability performance group. James has been a guest lecturer at WAAPA in movement and devised performance since 1990. James is supported through the Managing and Producing Services initiative of the Australia Council for the Arts and the Department of Culture and the Arts.

As Director: BLACK SWAN, BLITHE SPIRIT;Jeffrey Jay Fowler for The Last Great Hunt: OLD LOVE; for NIDA: PRIVATE VIEW. As Playwright/Director: for Curtin University: ESCAPE GOAT UTOPIA; for WA Youth Theatre: FISH OUT OF WATER (Drop Dead); for Little y Theatre Company: SECOND HANDS; for Mythophobic Productions: HOPE IS THE SADDEST, ZEN’S RED MOUTH. As Playwright: for UNIMA: RED LASHES, THE DUCK HOUSE, MINNIE AND MONA PLAY DEAD. As Actor and Playwright: for Mythophobic Productions: A HISTORY OF DRINKING; for The Last Great Hunt: ELEPHENTS, FAG/STAG. Other: Jeffrey Jay is Associate Director at Black Swan State Theatre Company. Awards: 2014 PAWA Best New Play for ELEPHENTS, 2013 Martin Sims Award for MINNIE AND MONA PLAY DEAD, 2012 Fringe World Best Theatre Award for HOPE IS THE SADDEST, 2009 Blue Room Judges Award for Outstanding Writing and Performance for A HISTORY OF DRINKING.

is a founding member of Renegade Productions. Within itsJoe Lui aegis he creates, writes, directs, designs and composes theatre and performance works. His most recent work was LETTERS HOME – a personal work that sold out its inaugural season at the Blue Room Theatre. This year Joe received the Spirit of the Fringe Award at Fringe World. Joe Lui is a regular and contributing part of the professional and independent theatre industry in Perth as a director, writer, and a sound and lighting designer. In these capacities he has worked with Perth companies, Black Swan, Perth Theatre Company, Yirra Yaakin theatre company and the vast majority of independent companies.

is a free-lance director, writer and dramaturg who works across Australia and internationally. He was most recently the Creative Director of multi-Green Room Award winning MKA: Theatre of New Writing and previously Director In Residence for the Bell Shakespeare Company. John holds an MA in Advanced Theatre Practice (Dramaturgy) from the Royal Central School of Speech & Drama (RCSSD) and originally trained at the National Institute of Dramatic Art as a playwright. John is a member of the 2015 Australia Council’s Emerging Leaders Development Programme. After gaining his MA, John spent 5 years in the UK working with leading new writing theatres including the Bush, Soho and Finborough Theatre and was the co-founder of IronBark – commissioning and producing the best Australian writing to UK audiences working with writers including Ben Ellis, Duncan Graham, Melissa Bubnic and Vivienne Walshe. Directing credits include; MKA, Lyric Opera Melbourne, Blue Room/Summer Nights, Mind’s Eye, ATYP/Under The Wharf, Red Stitch, Finborough Theatre, OVNV/The Old Vic, Young Vic Genesis programme, NYTGB, Soho Upstairs, Edinburgh Fringe, Rock Surfers, NIDA, Old Red Lion and Darlinghurst Theatre. He has assistant directed for Bell Shakespeare, Melbourne Theatre Company, Finborough Theatre and Theatre Royal Haymarket. John recently directed his first opera, Aaron Copland’s THE TENDER LAND for Lyric Opera of Melbourne to 5 Star reviews and is currently developing an ambitious adaptation of Joan London’s critically acclaimed Australian novel, GILGAMESH for the stage.

 has directed more than 20 plays, most recentlythe Australian premieres of Jon Fosse’s WINTER, HELTER SKELTER by Neil LaBute, and GOD’S EAR (Sydney Theatre Award nominee). And he co-devised, directed, and designed video for I AM NOT EMILY DICKINSON, a solo performance starring AFI‐nominee Elaine Hudson, which premiered in Italy and received development assistance from the Bundanon Trust. Originally from the US, Jonathan’s credits there include world premiere productions at the Obie-winning HERE and Soho Rep (NYC) and a dozen other plays, including NOISES OFF!, COMEDY OF ERRORS, BLUE WINDOW, and Don DeLillo’s THE DAY ROOM. He worked in roles from directing to spotlight operating at the Williamstown Theatre Company; Playwrights Horizons; Shakespeare Santa Cruz; The Guthrie; and The Houston Alley. Jonathan assisted visionary director Robert Wilson and the Tony-Award-winning Le Coq-trained Theatre de la Jeune Lune, and trained with Anne Bogart/SITI Company (Viewpoints and Suzuki); Forced Entertainment; Zen Zen Zo; Tony Kushner; and most recently, Theatre du Soleil. Jonathan is also a filmmaker; his five shorts have screened at more than 160 festivals and on the Sundance and Moviola Channels; featured on European DVDs; and won numerous awards. And as co‐founder of shoottheplayer.com Jonathan co-directed, shot, and co-edited 100 single-take videos of musicians such as Sarah Blasko, Reggie Watts, and Amanda Palmer playing live in public spaces. Jonathan received his Filmmaking MFA from UCLA, and a Fulbright to AFTRS. He has taught filmmaking extensively, including a year as Head of Film at the International Film School Sydney.

is Co-Artistic Director of Human AnimalJustine CampbellExchange. She most recently directed THE DUST AND US (Human Animal Exchange), SUMMER OF THE SEVENTEENTH DOLL (Complete Works) and PEER GYNT (Federation University Company 2014). This year she was invited to be part of the Womens’ Directing Program at MTC. Other directing credits include PEARL VERSUS THE WORLD (Jigsaw), BACK FROM THE DEAD RED (Melbourne Fringe) which she also wrote and which received a Green Room nomination for design in 2010. Justine has acted professionally for companies including Jigsaw in EMMA’S DYNASTY, TOO HOT TO HANDLE,BIG SISTER LITTLE BROTHER and toured South Korea with LATT. Other acting credits include QED, BREATHING CORPSES, BOSTON MARRIAGE, BERLIN CABARET OF DESIRE (The Street Theatre). A graduate of the VCA, her work has been nominated for and received numerous awards including the Stand Out Performer 2014 at New Zealand Fringe, Green Room female performer for THE FATE OF FRANKLIN (Four Larks) in 2010 and MEAA ACT Green Room professional performer of the year in 2007. Justine is a member of the Green Room Independent Theatre Panel.

KATE SULAN is the founding Artistic Director of Rawcus, an award-winning theatre company of performers with and without disability. Her work draws on dance, theatre and visual art disciplines and has been described as “a moving assertion of humanity with a wicked sense of humour”. Kate is a long-term collaborator with Back to Back Theatre. She worked as a deviser for GANESH VERSUS THE THIRD REICH and has toured with the work as the show director to over 14 cities worldwide. Also with Back to Back, Kate was the dramaturg for SUPER DISCOUNT (STC, Malthouse). Kate directed HAPPINESS in 2010/11 (Maryanne Lynch) and TAME in 2012/13 (Declan Greene) for Malthouse Theatre’s Suitcase Series. She has worked as a director and dramaturg with companies such as Malthouse Theatre, Restless Dance Theatre, Melbourne Theatre Company, Stuck Pigs Squealing, The Women’s Circus and Theatre of Speed. In 2009, Kate created a work in Ahmedabad, India as part of an Asialink Performing Arts Residency. The work was a collaboration between Darpana Performing Arts Academy and performers from Apang Manav Mandal, a home for girls with physical disabilities. Kate was a board member of Next Wave Festival between 2006-2014 and was part of MTC’s Women Directors Program 2014.

 is a director, producer and theatre maker. From 2007 – 2013 she was a core member of The Duck House theatre ensemble. In this time, she directed nine professional productions with most notable works including MINNIE & MONA PLAY DEAD (Fringe World 2013, Winner ‘Best New WA Work’), which has since been presented at Edinburgh Festival Fringe, Brisbane Festival and Melbourne Fringe, and THEY RAN ‘TIL THEY STOPPED (PICA, nominated ‘Best New Play’, Perth Equity Guild Awards). Kathryn is currently a core artist with The Last Great Hunt (TLGH) and has most recently co-devised and directed ELEPHENTS (The Blue Room Theatre 2014, Fringe World 2015, Winner ‘Best New Play’ Performing Arts WA industry awards). She is currently creating a new work with TLGH called THE CROSSING, to premiere at Fringe World 2016. Outside of TLGH, Kathryn has also recently delved into the world of directing opera with THE OLD MAID AND THE THIEF (Love Opera!, The Perth Town Hall), and has undertaken several professional development opportunities, including assistant directing for The Malthouse Theatre’s Artistic Director Matthew Lutton.


After training as a dancer, KIM HARDWICK studied acting atKim Hardwick the Victorian College of the Arts and directing at The Western Australian Academy of the Performing Arts and has recently completed her Master of Arts in Theatre Directing. Since graduating from WAAPA Kim has directed for independent and subsidised theatre companies. Kim’s main interest is in the development and production of new Australian work and to that end she has directed BANG by Jonathan Gavin for B Sharp at Belvoir, THE HATPIN and LOVEBITES by Rutherford and Millar at the Seymour Centre. Kim also premiered Rebecca Clarke’s play BELONGINGS for regional audiences and most recently directed UNHOLY GHOSTS by Campion Decent for White Box Theatre and Griffin Independent and THE HOUSE ON THE LAKE by Aidan Fennessy for Griffin Theatre. Kim has also assisted Gale Edwards on GHOSTS for MTC, and Sam Strong on OTHER DESERT CITIES for MTC. Kim is a current Griffin Theatre Studio Artist.

 is best known for his lead part in THEKristof Kaczmarek SOUND OF ONE HAND CLAPPING and appearance in numerous TV series such as STINGERS, BLUE HEELERS and RUSH. He performed alongside Kerry Fox and Jacky Chan (FIRST STRIKE) and he is a graduate of the famous Academy of Theatre, Film & TV, in Lodz, Poland. After arriving in Australia, Kristof co-established Theatre Zart in WA. Since then, he has produced, directed and appeared in over 30 professional theatre productions in both Australia and Poland, including IMMIGRANTS, HUNTING THE COCKROACHES, ANTIGONE IN NEW YORK, THE IDIOT, NO EXIT and GOODBYE JUDAS. Kristof’s favourite theatre works include absurdist and thought–provoking plays of Sartre, Beckett, Mrozek, Witkacy and Albee. Currently Kristof is the Artistic Director of Exit Theatre, a young theatre company in Yarra Valley, for which he chooses innovative complex plays focusing on human relationships, absurd situations, and the pursuit of the meaning of life. While focusing mainly on contemporary European plays, Kristof also enjoys working on classics by Chekhov or Dostoyevski and modern Australian work.

has been working in the theatre industry in Western Australia as an actor for years, working for such theatre companies as Black Swan (WAITING FOR GODOT 1993), Deckchair (KING FOR THIS PLACE 1999, JIMMY AND PAT MEET THE QUEEN 2000 & Wonderlands 2007), Barking Gecko (AMYS MONSTER 2000 & OWN WORST ENEMY 2001). In 2008 Kyle was the assistant director on Sydney Theatre Companies production of ROMEO & JULIET, FEMALE OF THE SPECIES, written by Joanna Murray Smith for Black Swan Theatre Company and YIBBIYUNG by Dallas Winmar for Company B. Productions directed by Kyle for Yirra Yaakin include- MUTTACAR SORRY BUSINESS (By Mitch Torres & David Milroy 2007-2010),IN THE NYITTING TIME (2008), GOOD LOVIN (By David Milroy 2009/10), HONEY SPOT (By Jack Davis 2010) and MOTHERS TONGUE (By Kamarra Bell-Wykes 2010) Kaarla Kaatijin (By Zac James 2012) KING HIT (By David Milroy) FEVER AND THE FRET (By Jub Clerc). Kyle is currently the Artistic Director at Yirra Yaakin Theatre Company.

In 2015 LEAH MERCER directed/co-devised HOME for Queensland Leah MercerTheatre Company in a co-production with Force of Circumstance. With her company The Nest Ensemble she directed/co-wrote JOEY: THE MECHANICAL BOY at Perth’s Blue Room Theatre (Winner, Best Director: Performing Arts WA, 2014). In 2012 she directed/co-devised EVE at the Blue Room Theatre & Metro Arts Theatre (Brisbane) (Winner, Blue Room Members Choice for Best Production); and HOME for La Boite Theatre’s Indie season. Leah directed/co-wrote THE KNOWING OF MARY POPPINS at the Darlinghurst Theatre (Sydney, 2009), the Adelaide Fringe Festival (2008) and the Brisbane Powerhouse (2005, 2006) (Winner, Silver Matilda Award for Directing, 2007). The play script was published by Playlab Press in an anthology entitled Independent Brisbane: Four Plays (2008). She wrote/performed A MOUTHFUL OF PINS at the Brisbane Powerhouse (2008) and directed/co-wrote THE PHYSICS PROJECT as part of her practice-led PhD at QUT (2006), (Winner, Philip Parsons Prize for Performance as Research, 2008). Leah’s other directing credits include: THE HARDEST WAY TO MAKE AN OMELETTE written/performed by Jessica Harlond-Kenny in partnership with the Spare Parts Puppet Theatre at the Fremantle Festival (2013); Stace Callaghan’s BETWEEN HEAVEN & EARTH (one hand clapping, Brisbane Powerhouse, 2006). Leah coordinates the Performance Studies course at Curtin University, where she has directed Sarah Ruhl’s MELANCHOLY PLAY, ORLANDO and EURYDICE, Joy Gregory’s DEAR CHARLOTTE, Joanne Laurens’ THE THREE BIRDS, Will Eno’s THE FLU SEASON, Mary Zimmerman’s METAMORPHOSES, Bertolt Brecht’s THE THREEPENNY OPERA, Caryl Churchill’s THE AFTER-DINNER JOKE and Anton Chekhov’s THE SEAGULL.

 is a playwright and the artistic director of Marcel DorneyMelbourne-based theatre ensemble Elbow Room. His work includes commissions by Queensland Theatre Company, Malthouse Theatre, Merrigong Theatre Company, Hothouse Theatre, USQ, La Boite, Brisbane Powerhouse, and the Next Wave Festival. He has been an associate writer of Griffin Theatre and Red Stitch Actors’ Theatre, and has been published by Playlab Press. Marcel’s work as a scriptwriter includes FRACTIONS (QTC/HotHouse 2011; 2010 Queensland Premier’s Drama Award) ‘Cockleshell’ in THE TURNING (Matchbox Pictures, dir. Tony Ayres), THIEVES LIKE US, Charcoal Creek (Merrigong Theatre Company). With Elbow Room, his work as a writer/director includes: THERE (2008 AF Award, Best Performance); A TINY CHORUS; AFTER ALL THIS (2011 Green Room Awards Best Ensemble & Best Director (Ind.) and Best Performance, 2011 Melbourne Fringe); AS WE MEAN TO GO ON; NOW MORE THAN EVER; PREHISTORIC (2014 GRA Best Writing (Ind.) and Best Performance, 2014 Melbourne Fringe); THE MOTION OF LIGHT IN WATER (Hothouse/Theatre Works/ La Boite Independent); WE GET IT (presented through MTC NEON Festival of Indepedent Theatre, 2015). Marcel studied with the Maly Theatre, St Petersburg, Russia, in 2002 through a Brisbane City Council Fellowship. He is a graduate of the Victorian College of the Arts with a Class 1 Postgrad Diploma in Directing and a Masters in Performance (Directing) by Research. He is currently part of the PWA/MTC Dramaturgy Mentorship Program and the Malthouse Writer/Director initiative, working with director Tanya Dickson.

 trained at the Victorian College of Arts (Directing),Mark Pritchard  PACT, and the University of Wollongong (Performance).
His practice focuses on hybrid dramaturgy, and an investigation of ritual, narrative, and mythology in contemporary culture. Mark is Resident Dramaturg at the Malthouse Theatre, providing dramaturgical support across the company’s activities. Recent projects include BLAK CABARET (Malthouse/Sydney Festival), LOVE AND INFORMATION (Malthouse/ STC), PWA’s Lotus Playwriting Initiative and coordinating Malthouse’s Besen Family Writers Program. Writers he has worked with through Malthouse include Lally Katz, Nakkiah Lui, Nicola Gunn, Michele Lee, Zoe Coombs Marr, Declan Greene, Louris van de Geer and Roslyn Oades. Mark is co-director of NO SHOW with Bridget Balodis, with whom he has cocreated THE SÉANCE (LaBoite Indie 2013, 2012 Melbourne Fringe), UNFINISHED BUSINESS (You Are Here Festival 2013, Crack Theatre Festival 2013) OUTSIDE LINE (Pop Up Playground, 2013) and SHOTGUN WEDDING (2012 Next Wave Festival). Mark was Co-Director/Dramaturg on WAEL ZUAITER: UNKNOWN (Jesse Cox, Creative Nonfiction) at Theatreworks for the 2014 Next Wave Festival. Other directing credits include Amy Herzog’s 4000 MILES (Red Stitch Actors Theatre, 2013), and in 2016 Mark will direct Louris van de Geer’s new play TRIUMPH at fortyfivedownstairs.

   is a Melbourne based maker, performer,
dramaturg and director. He trained at the VCA (PerformanceMark Wilson Creation, Directing) and Monash (Performing Arts), has studied with Philippe Gaulier and is an International Fellow of Shakespeare’s Globe in London. His work often has a strong connection to classical text and always to present socialpolitical realities. He believes in a dramaturgy-led postdramatic theatre of ideas, influenced especially by Shakespeare, Brecht and Heiner Müller, a theatre which is both challenging and thoroughly entertaining. His adaptation of RICHARD II (with Olivia Monticciolo) next plays at the Brisbane Festival (Theatre Republic) and explores the recent political dramas of federal Australian politics, with a critical eye on personality and gender politics, systemic failures and a passionate desire for change. This follows his self-devised solo performance works RACHEL’S PERFORMANCE, TO KEEP MEN IN AWE (a quasibiography of the Elizabethan playwright Christopher Marlowe), and UNSEX ME (a drag show remix of Lady Macbeth, packed with whispered confessions and booming selfmockery, which continues to divide audiences across Australia). He has directed plays by Shakespeare, Marlowe, Dennis Kelly, Louis Nowra, Joyce Carol Oates, Dennis Kelly and others, and has been involved in development of new work with many Melbourne based artists and collectives.

trained at The Western Australian Academy ofMatt Edgerton Performing Arts (WAAPA) in acting. For Sport For Jove, Matt has directed THE TEMPEST and OTHELLO. For Bell Shakespeare: ten shows for young people based on MACBETH, A MIDSUMMER NIGHT’S DREAM, HAMLET, OTHELLO and ROMEO AND JULIET. For WAAPA: A MIDSUMMER NIGHT’S DREAM and MEASURE FOR MEASURE. For Poetry In Action: THE ELEMENTS OF RHYME, THE UNITED NATIONS OF POETRY, THE CITIZENSHIP TEST and THE AUSTRALIANS and has written and directed WORDS OF WAR and THE PAPER TIGER. For Shaman productions: DEATH IN BOWENGABBIE. For Monkey Baa: THE UNKNOWN SOLDIER. As an actor Matt has worked constantly for the last fifteen years, for companies including Bell Shakespeare, Black Swan, Browns Mart, Ensemble Theatre Company, Moogahlin Theatre Company, New Theatre, Red Dust, Siren Theatre Company, Sport For Jove, Suck It And See, Tamarama Rock Surfers and Theatre of Image. He has performed in numerous works on television, film and radio. Matt was the Resident Artist In Education for Bell Shakespeare from 2007 – 2010, working as director, dramaturg, actor and arts educator, training actors and writing scripts and content for the company’s programmes. He has explored theatre with the homeless, in juvenile justice centres and in residencies in remote communities Australia-wide. Matt is Winston Churchill Memorial Fellow and travelled to Vanuatu and London in 2013 to study Theatre for Development. He is the new artistic director of Barking Gecko Theatre Company in Perth and a proud member of Actors Equity.

 was born and raised in Melbourne. In 2012 he was1234113_10152180014313998_1214100863_n-1 accepted into the directors course at the National Institute of Dramatic Art (NIDA). Phil’s first directorial role post-NIDA in Sydney was on the Patrick White classic THE HAM FUNERAL for The New Theatre in April. This production was heavily praised and saw a five-week run. Straight after this production opened he flew to Cooktown in far north Queensland to spend five weeks creating a show with the local community. The show was a site-specific, bi-lingual re-enactment of Captain Cook’s 1770 meeting with the Waymbuur Bama. Upon returning to Sydney he took over the directorial role for HEY! YEAH! IT’S MOLLY’S TRAVELLING WORM SHOW! by Melita Rowston. This work was presented as part of the 2013 Malthouse Helium season. In August 2013 Phil launched Don’t Look Away to pursue his deepening interest in presenting Australian playwrights and Australian stories. Don’t Look Away’s inaugural production of ROOTED by Alex Buzo was presented in November at NIDA’s parade studio. THE LEGEND OF KING O’MALLEY was Don’t Look Away’s second production. It premiered at La Mama Courthouse before touring to the Seymour Centre. Phil has also directed THE GREAT GOD MOGADON at the Melbourne Fringe, and recently completed his production of THE RIVERS OF CHINA at theatre works. He is currently working on A PROPERTY OF THE CLAN and planning 2016.

 is a Melbourne based theatre-maker, performerRachel Perks and writer. In 2014 she staged and performed in her original work ANGRY SEXX at the Melbourne Fringe Festival where she was the recipient of the Melbourne Festival Discovery Award and was nominated for the Green Room Award for Best Independent Writing. This year Rachel co-wrote Elbow Room’s NEON work WE GET IT with Marcel Dorney and was awarded the Art Start grant by the Australia Council. She is also a participant in the Malthouse Theatre’s 2015 Besen Family Writers Program. Rachel is currently working as dramaturg on a production of THE ONE by Vicky Jones to be staged as part of the inaugural Poppyseed Festival at fortyfivedownstairs and is a contributing writer on Andrew Shneider’s Melbourne Festival season of ACTING STRANGER. Rachel has previously had work performed and developed in conjunction with US-A-UM in Sydney, the Emerging Writers Festival, Orgi #4 and the Traverse Theatre Edinburgh. Rachel graduated from the Victorian College of the Arts in 2013 where she was the recipient of the Pratt Bursary.

is a director/deviser who creates site-specificRebecca Russell visual theatre works. Rebecca’s work to date is grounded in her collaborative partnership with designer Ken Evans. Working with non-linear story and imagery is the cornerstone of the Russell/Evans output. It is the combination of their skill sets and the blurred lines between them that is their combined voice. Rebecca works with a form of verbatim theatre, recording interviews that delve into people’s passion, knowledge base or everyday life experiences. Editing raw material, Rebecca probes the voice for recurring themes, enlightening moments and universal truths that become the impetus for the image and movement of the work.

Rebecca and Ken’s most recent works include GRASSLANDS (2014), exploring fragile connection to place with dance, projection and live-looping cello, and STEAM! (2012), with choreographed steam traction engines and a 90-tonne 1904 Ruston steam shovel, passionate ‘steamies’ and steam punk prancers. Currently working on a show for the 24 Hour Experience: Ballarat with dancer Janette Hoe, Rebecca is challenging the accepted collective story of the Chinese community in Ballarat through the experience of 24 hours in the life of a contemporary Ballarat Chinese elder, turning pre-conceived ideas of cultural heritage on their head.

Rebecca works in collaboration with a growing ensemble of artists and her work relies on the collision of ideas and artforms. Her most recent collaborators include dancer Janette Hoe, video artist Dotahn Caspi, lighting designer Philip Lethlean and composer Kristin Rule. The people and landscape of regional Victoria, in all its beauty and complexity are her most recent muses.

 is an award winning director, puppeteer, writer,Sarah Kriegler and co director of Lemony S Puppet Theatre. She trained at the V.C.A, School of Drama (Animateuring), and Teatro San Martin Puppet School, B.A. Argentina. With Lemony S, she has created and directed many works including the award winning FOXY’S HOUSE OF HORROR, THE LICHTENSTEIN NURSING HOME MASSACRE andTHE RISE AND FALL OF THE SCARLET ST THEATRE which premiered at the Arts Centre Melbourne in September 2013. Lemony S’ critically acclaimed work APPLES AND LADDERS toured nationally and internationally, receiving rave reviews and a Green Room nomination. She has performed and created works with many other companies including Chamber Made Opera, Polyglot, Terrapin, Aphids, Arena, The Malthouse Theatre, Jump Lead and The Flying Fruit Fly Circus. Her television credits include HORACE AND TINA, DOWNTOWN FARSCAPE and SQUEAK AND BOO as well as the feature film WHERE THE WILD THINGS ARE. She is currently an Artistic Associate at Chamber Made Opera where she just finished directing CAPTIVES OF THE CITY, commissioned by Arts Centre Melbourne which played to a sell-out crowd. During 2014, she was a part of the MTC Women’s Director’s program and is a current member of the Contemporary and Experimental Green Room Awards Panel. Awards; Churchill Fellowship, Rotary Young Achievers Award, Melbourne Fringe Festival Gasworks Award, Helpman Award ‘Best Performance for Children’ (with the Flying Fruit Flies), Melbourne Fringe Festival ‘Best Children’s Performance’ (with Alexandra Sangster & La Mama), MTV ‘Best Film Clip’ Music Award. www.lemonys.net.au

 is a professionally trained theatre maker currently Shannon Mackowskibased in Adelaide, Australia. She received an Advanced Diploma in Acting from Adelaide College of the Arts in 2003 and a Bachelor of Creative Arts in Directing from Flinders University in 2015. She also trained at the Trinity Laban Conservatoire of Music and Dance in 2004 with funding assistance from the Helpmann Academy. Shannon has worked with theatres nationally and internationally including Theater Simple (USA), Teatro Kismet (ITALY), Oval House Theatre (UK), State Theatre Company of SA (AUS), Forge Theatre (AUS) and Duende Collective (AUS). Shannon is also a drama tutor and facilitator having taught in Italy, United Kingdom and Australia. Her recent directing credits include Neil LaBute’s BASH and Angela Betzien’s WAR CRIMES.
Raised in Hong Kong and Singapore, SHANNON MURPHY is a NIDA and AFTRS directing graduate with a BFA in Performance from the University of Florida. She has directed for the Sydney Theatre Company, Griffin Theatre Company, B-Sharp, Riverside Theatre, The Ensemble, The Seymour Centre, the Old Fitzroy Theatre, Bell Shakespeare, the Darlinghurst Theatre, Florida Players and the Schaubühne in Berlin. As a deviser Shannon is one third of the performance collective Sandsthroughthehourglass, winners of Sydney Morning Herald’s Most Thrilling Theatrical Event Award. Other accolades include: Studio Director at Griffin Theatre, recipient of the Mike Walsh Fellowship, Instyle and Audi Women of Style Scholarship, Screen Australia Talent Escalator Program and Sydney Theatre Award winner. Shannon’s film credits include: PINEAPPLE SQUAT, PLAN B, BEING BRENDO (Vic AIDS), THE COMEBACK (Tropfest) and HOUSEWIVES OF HISTORY (Put it Out There Pictures). Her short film KHARISMA screened at Cannes, Palm Springs, Berlin Interfilm, Flickerfest, Rhode Island, Byron Bay, Citizen Jane, Tasmanian Breath of Fresh Air, Toronto International KIDS and was nominated for an AACTA Social Shorts award. Last year Shannon was under the tutelage of producer Imogen Banks, on PARTY TRICKS. Her political campaign adverts starring Asher Keddie and Rodger Corser played on Channel 10 and Ten Play. This year, Shannon’s immersive production or ORFEO ED EURIDICE was the headlining act for Spectrum Now Festival at the Art Gallery of New South Wales. In December she will direct the short film CREATURE COMFORTS with her production company Dollhouse Pictures, starring Ryan Corr and Tilda Cobham-Hervey.

 graduated from the Australian Academy ofSoseh Yekanians Dramatic Art in Sydney with an Advanced Diploma in Arts (Acting) and a Bachelor of Performance. She was then invited to the Atlantic Theatre Company Acting School in New York, where she completed the 2-Year Professional Conservatory Acting Program in Practical Aesthetics. Fostering her passion for the performing arts, in 2012 Soseh embarked on a Doctorate of Philosophy (PhD) at the Western Australian Academy of Performing Arts (WAAPA) in Perth. Soseh’s research, Creatively Pursuing Persona: Finding Identity through Directing, investigated how theatre directing could provide a culturally displaced individual with a sense of identity and belonging. Her study was conducted in three phases resulting in an exegesis and two components of an original creative work. Soseh’s findings provided new insights into how theatre directing allows an individual to re-discover their identity through leadership in a non-judgemental forum. The theatre as a space for communal exchanges and conversations can initiate dialogue about cultural differences. Throughout her career whilst following her creative endeavours, Soseh has developed a strong teaching base working as a director, acting coach and private acting consultant for performing arts institutions and elite talent agencies both in Australia and overseas.

 is an independent theatre maker and ArtisticHS Searle Associate at Back to Back Theatre. Tamara has an MA in Theatre Practice from Monash University. She is in the 2015 cohort of the MTC Women Director’s Program and was a dramaturgy intern with MTC and PWA in 2014.


TANIA  CAÑAS is the Arts Director at RISE Refugee and a PhDTania Canas candidate at the Victorian College of the Arts. She sits on the Editorial Board for the International PTO Academic Journal and recently completed a research assistant internship at NYU’s Hemispheric Institute of Performance and Politics. Tania’s research and work focuses on theatre as self-determination, working primarily within Community Cultural Development frameworks to develop performances with participants. In October 2013, Tania was one of six-internationally selected emerging theatre practitioners for a residency in collaboration with Playhouse and ImaginAcation, Derry. The residency investigated the use of theatre for social change and healing in Northern Ireland – working in two operational prisons, with first year theatre students at Ulster University, and an LGBT and a youth community group in Strabane. Throughout 2014, Tania initiated and co-facilitated an inaugural theatre partnership between RISE and NMIT; a bridging programme between students and recent migrants, refugees and asylum seekers. The program used Forum Theatre methods and concluded in a work-in-progress community showing to 500 people. Earlier this year, she returned a 1-month artist residency in Honiara, Solomon Islands, in collaboration with local organistion Art Haus. The residency involved developing a Forum Theatre play with local women, which was performed at the National Auditorium. Tania’s monologue script, ‘Untouchable’, was published by Currency Press Australia in 2013. She has performed the script at ACMI, as well as toured the piece to the Performing the World Conference in New York and the Mixed-Race Studies Conference in Chicago. Her recent script, ‘Three Angry Refugees’, was selected for Apocalypse Theatre Company’s quick-response season February 2015.

 is a theatre and movement director / educatorTeresa Izzard with an MA in Theatre Directing and a practice-led PhD in Directing and Dramaturgy, for which she won the Phillip Parsons Prize. Teresa is also a Laban / Bartenieff Certified Movement Analyst and a Dynamic Embodiment Practitioner. Teresa makes theatre that excavates our archetypal human experience and transforms it, through body-based processes, into gifts for our contemporary world. Her adaptation (with Silvia Lehmann) of Charlotte Perkins Gilman’s THE YELLOW WALLPAPER was produced at The Blue Room Theatre and nominated for an Equity Guild Award in the ‘Best New Play’ category in 2013. Other recent projects include directing Wedekind’s SPRING AWAKENING for the Hayman Theatre Company and co-producing and directing Bryony Lavery’s ILLYRIA for the Hayman Theatre Company and Fringe World. In 2014, Teresa was the Coordinator of Movement at WAAPA, which included movement coaching on thirteen diverse productions. Currently blending her directorial practice with her role as a Theatre Arts lecturer at Curtin University she teaches movement, dramaturgy and coordinates the professional practice stream. Teresa has recently returned from training with Anne Bogart’s SITI Company and is in the early stages of developing a new work based on Mary Shelley’s Frankenstein with her newly founded company Feet First Collective. She is currently working on 7 NEEDS BY 7 ON with Turquoise Theatre for Fringe World 2016 and is excited to participate in the inaugural Australian Directors Lab.

 is an artist working across theatre, performance,Thomas Quirkvideo, sculpture and spatial installation. Thomas is most excited about the strange possibilities that are discovered when theatre collides with these other forms. Sometimes the product might be an immersive theatre experience, an online interactive performance, a festival program, an audio walking tour, a filibuster or a panel discussion. Thomas is interested in how these forms can be in discussion with each other, rather than situating themselves along a spectrum of ‘what art is’. In his theatre practice, Thomas has worked across Australia to bring rigorous, ambitious and youthful works to the stage. Thomas is committed to discovering inventive methods towards creating devised theatre that re-configure existing models of theatremaking and responds to current contexts – the now – broadcasting a range of perspectives through his work. Thomas’ work, THE THEORY OF EVERYTHING, recently premiered at Brisbane Festival in September 2015 as part of Theatre Republic. Thomas has also presented work with Metro Arts, Junction Arts Festival, World Theatre Festival, The Judith Wright Centre of Contemporary Arts and Brisbane Powerhouse. He has worked for Backbone Youth Arts, Queensland Theatre Company, Brisbane Festival, exist ARI, 2high Festival, Brisbane Emerging Art Festival and has been a peer advisor for the Australia Council for the Arts’ Emerging and Experimental Arts Department.

is a director and actor with a particular interestTim Nolanin opera and cross art form collaboration. He has a Bachelor of Contemporary Performance (E.C.U.) and a Certificate II in Musical Theatre (WAAPA). Tim has worked for Opera Australia as an Assistant Director (PARTNOPE, FALSTAFF) and continues to work for the company in a range of other technical and arts management roles. He has been fortunate to observe rehearsals run by internationally renowned directors including on Neil Armfield’s production of Wagner’s DER RING DES NIBELUNGEN and on Sir David McVicar’s production of Mozart’s DON GIOVANNI. He has worked as an assistant director and director with various Melbourne companies including Melbourne Opera, More than Opera and Lyric Opera, Melbourne. Tim has directed a highly acclaimed production of Reg Cribb’s UNAUSTRALIA for La Mama, and other directing credits include Short and Sweet 2012 and RENT for Melbourne University’s Queen’s College. Upcoming productions include VITA MORS with Forest Collective and THE TELEPHONE/THE DRESS for the Adelaide Fringe Festival. Tim has undertaken postgraduate study with a Master of Arts and Cultural Management from Melbourne University which included an internship at Chamber Made Opera. He continues to undertake a range of roles within the performing arts in both creative and organisational areas and as an educator, having recently completed a Graduate Diploma in Education.

 is a performance maker, promoterTobias Galvin-Mandersonand empresario based in Melbourne, Australia. He is best known as Artistic Director/CEO (and co-founder) of MKA | Theatre of New Writing. He is also a Director General of emerging, multinational performance company Doppelgangster, currently collaborating with members in the UK, Australia and Korea. Tobias first shot to notoriety playing Adolf Hitler and David Hasslehoff simultaneously in the cultural solution HITLERHOFF by Tom Doig. At nineteen, Tobias held a terrorist ranking from the Australian Federal Police for his poetry. As writer or director for stage his best known works include THE ECONOMIST, THANKYOU, THANKYOU LOVE & DOGMEAT. To relax Tobias manages the band ‘Expen$$$ive’, and records largely unpublished podcasts about performance with his sister as Jolly Good Radio. doppelgangster.com + luckytobie.com + mka.org.au

 is a performance director and artist whoVanessa Chappleworks across the disciplines of theatre, dance, voice, sound-art and music. Her directorial work ranges from solo theatre works for intimate settings based upon personal stories, to large scale community projects which take place in both in- and outdoor settings. She has a solo improvisation practice which informs her collaborations with colleagues in theatre making, and creates works with and for children which explore early childhood aesthetic engagement and imaginative play.Vanessa has a particular interest in investigations in the development and use of the voice. Vanessa’s directorial work includes: THE COLLOQUY OF JG AND THE GIRL (2015), APRIL UNDERHILL: TOOTHFAIRY, (adapted from Bob Graham’s well loved children’s book received Melbourne Fringe Best Children’s show, 2014), HAUL AWAY (recipient of Green room awards, 2007), Her Secret Face, (nominated for Green room awards, 2005), THIS SKIN, (2006), ARIADNE’S THREAD (2005), STRANGE SKINS (2002). Vanessa has been recipient of ArtsVic funding for many projects. Vanessa has worked as an educator in performance studies, movement, and voice at Federation University, National Theatre, St.Kilda, Victorian University of Technology, John Bolton Theatre School, and Deakin University. She works with CircusOz in their corporate program High Flying Teams and facilitates performance presence and choreography workshops with professional singing ensembles and people’s choirs Vanessa holds a B.A (Honours in Psychology), University of Melbourne and graduated from The John Bolton Theatre School in 1997. She studied a Graduate Diploma in Movement and Dance (University of Melbourne), holds a Diploma of Theatre Studies (Victoria University of Technology) and has completed post -graduate studies in voice at VCAM (2011).

 is a theatre maker based in Melbourne. Her recentZoey Dawsonplaywriting credits include: WELCOME TO NOWHERE (Monash University); CALAMITY (ZLMD Shakespeare/MTC NEON); THE UNSPOKEN WORD IS JOE (MKA/La Mama/Griffin Theatre/Brisbane Festival), for which she was awarded the Melbourne Festival Discovery Award; MADONNA ARMS (I’m Trying To Kiss You/Next Wave) and I KNOW THERE’S A LOT OF NOISE OUTSIDE BUT YOU HAVE TO CLOSE YOUR EYES (I’m Trying To Kiss You/LaMama/NIDA). Zoey has worked as a director on CALAMITY and ROMEO AND JULIET (ZLMD Shakespeare) and as assistant director on THE CHERRY ORCHARD (MTC) and POMPEII, LA (Malthouse). As a dramaturge Zoey has collaborated on THE COLLECTED WORKS OF VICTOR BERGMAN (The Family). In addition to performing in most of her own work, Zoey has appeared in SHOTGUN WEDDING (No Show/Next Wave) and an international tour of THE ECONOMIST (MKA/ World Theatre Festival/Edinburgh Fringe) for which she was nominated for a UK Stage Award for Best Actress. In 2014, Zoey completed a Master of Writing for Performance at the Victorian College of Arts where she was awarded the Grace Marion Wilson prize for Excellence. In 2015 Zoey completed an internship with Elevator Repair Service in New York.