2016 Directors

GORKEM ACAROGLU  is a theatre maker most passionate about work that tests the borders of traditional form and content. She is ga_image_2Creative Director of The 24 Hour Experience – a living documentary through the hidden perspectives of place, which premiered in Melbourne. Gorkem has had an ongoing interest in the capacity of digital technologies to perform alongside live actors and explored this through an Australia Council Artlab initiative working with robotics and motion capture technologies. In 2012 Gorkem travelled to Mongolia through Asialink and worked with local theatre makers to develop a documentary – style Mongolian perspective of Hamlet. Gorkem was an inaugural Sidney Myer Creative Fellow and recently completed her PhD examining the capacity for technological actors to perform competently with human actors on stage. Gorkem is Artistic Director of Metanoia Theatre, curators of the Mechanics Institute in Brunswick. Other recent work includes Milk Bars and 10Cs

MATTHEW ADEY is a theatre-maker and designer born in Adelaide, South Australia and based in Melbourne, Victoria. Adey graduated matadeyheadshotbwfrom the Victoria College of the Arts in 2011 with a Bachelor of Production and works as a freelance designer in theatre, contemporary dance and event design. Adey leds the experimental theatre ensemble House of Vnholy. Adey’s design collaborations in theatre include Ground Control by Rachel Perks, They Saw A Thylacine with Matthew Lutton & Human Animal Exchange, MKA’s Double Feature at Neon MTC, Red Stitch’s Grounded, Dead Centre/Seawall & Detroit, The Motion of Light on Water by Elbow Room. Collaborations in dance include Aviary by Phillip Adams BalletLab, Jo Lloyd & Nicola Gunn’s MerMerMer, Melanie Lane’s Re-make, Shian Law’s Personal Mythologies, Atlanta Eke’s Miss Universal, Natalie Abbott’s MAXIMUM, Rebecca Jensen’s EXPLORER, Lillian Steiner’s Admission Into The Everyday Sublime.

OLIVIA ALLEN is a Director & Producer of multidisciplinary works and artistic programs with 15 years experience working largely within the community arts and cultural development sector. She has a passionate comm10296240_10152322291751195_6818547655646941783_oitment to creating works with daring, impact and inclusivity and in advocating the role cultural programs and events have in nurturing an innovative, enriched society. As the Artistic Director of Riverland Youth Theatre (2010-2014) she led a dynamic arts program for young people aged 4-26. Projects include the award winning large scale outdoor performance event WATER 2013 (Finalist 2014 Ruby Awards for Community Impact, Winner 2014 Regional Arts + Impact Awards.) Her experience as a director and associate director include working with Melbourne Theatre Company (Affiliate Director), Malthouse (Besen Family Artist Recipient), Belvoir, ANPC (Playwriting Australia), St Martins Youth Arts, Woodford Folk Festival and Union House Theatre. Olivia holds a BA Hons (UNSW) and a Grad Dip Directing (WAAPA).

JESSICA BELLAMY is a playwright and theatre maker. She has been a Griffin Theatre PWA Associate Playwright (2011/12), Writer in headshotResidence at Grey Projects, Singapore (2013), MTC/PWA Dramaturgy Intern (2014) and an Artistic Director for Outback Theatre for Young People’s The Echo in Our Walls (2014-15). She has worked with Malthouse Theatre on Dybbuk (2016) and participated in the Besen Emerging Writers Programme. Jessica was the recipient of the 2013 atyp Foundation Commission, writing Compass (nominated for Sydney Theatre and AWGIE awards, published by Playlab Press), and is winner of the Rodney Seaborn Playwrights Award 2011 for Sprout (Playlab Press). Her play Shabbat Dinner was produced by Tamarama Rock Surfers, Bondi, and Checkpoint Theatre, Singapore.

RODRIGO CALDERON is a professional actor from El Salvador with a degree in Dramatic Arts from Buenos Aires, Argentina. For the last rodrigo_headshoteight years he has worked as an Actor, Director and Teacher in different theaters, festivals, film productions and educational projects in Argentina, Australia, El Salvador and Malaysia. In 2013 he formed a collaboration with a playwright, choreographer and another fellow actor, to create ‘ANAFILAXIS’, a project based on the life of the performers. Through this project he discovered a more physical and visceral theatre style that inspired him to explore more ritualistic aspects of theatre. Rodrigo has recently moved to Melbourne, following his interests in physical theatre and exploring a diverse range of workshops including Butoh, Neutral Mask, Gaga Movement, Suzuki Method and Malaysian and Javanese Shamanic Trance Dance. His pursuit in theatre is to create poetic narratives by embracing pure emotions in physical improvisation.

PRUE CLARK is a Melbourne-based theatre director with a particular interest in new writing. She completed a Postgraduate prue_clark_7665_ponch_hawkes_2012Diploma in Directing at the Victorian College of the Arts in 2012 and was the recipient of an Orloff Family Charitable Trust Scholarship for Excellence. Prue is an Art Start recipient, part of MTC’s Women in Theatre Program and has twice been nominated for a Green Room Award for Best Direction (Reasons to Stay Inside: 2015, Dropped: 2013). Prue’s directing credits include: Emma Hall’s multi-award winning We May Have to Choose, Katy’s Warner’s Reasons to Stay Inside (winner of the Best Kids category, Melbourne Fringe 2015), Katy’s Warner’s Dropped, and MKA’s Group Show. Prue has also assisted established theatre director Susie Dee on Patricia Cornelius’ Savages and Richard Murphet on Richard Forman’s Eddie Goes to Poetry. http://www.prueclark.com

BRETT COUSINS recently directed You Got Older at Red Stitch following the success of his directorial debut, Wethouse in 2015. As image001-1a writer, Brett is in the final stages of development on his first feature film, Menace. In 2005, Brett was awarded a Green Room Award for Best Actor and was nominated again in 2007. Brett features in the upcoming feature film, The Menkoff Method, and appeared at the MTC in The Waiting Room and Glengarry Glenross. Brett has performed dozens of roles at Red Stitch including Extinction, Detroit, Out of the Water, The Aliens, Stockholm, Creditors, Farragut North, Motortown, This Is How It Goes, The Shape Of Things, and Some Voices. He has acted in seasons with the Bell Shakespeare Company and the Australian Shakespeare Company. Film and television credits include roles on Howzat!, Winners and Losers, Miss Fisher’s Murder Mysteries, Underbelly, City Homicide, Bootmen, Neighbours, and JAG.

AINA DE COS is a playwright, director and actress. She begins her theatrical path in Mallorca with Leona di Marco, American director aina_de_cosestablished in the island. In 1996, she moved to Barcelona and graduated from the prestigious Institut del Teatre de Barcelona, a Performing Arts University. Her final degree project was Adiós Nonino, which won the First Prize at the Festival Decouvertes Images in Tournai, Belgium and which was toured internationally for years. In 2011, she received a Master’s degree in Meisner Technique with Javier Galitó-Cava and Rachel Alder. On stage she has been directed by Konrad Zschiedrich, Joan Ollé, Carles Alberola, and Mariano Pensotti, amongst others. In 2013, she launched her own company in Madrid where she started to write and direct their own plays. This last year she won the Teatre Principal of Palma Prize “About the woman” with her first main play, Only when it rains.

HARRIET GILLIES is a theatre maker, performance artist and one half of the live art partnership zin. Harriet operates across a hgillies_headshotrange of performance modes including large-scale participatory events, one-on-one situational performances and devised works for the stage. Harriet challenges traditional theatre conventions to make experimental performance with a focus on collaboration, accessibility and fun. Harriet graduated from NIDA and has presented original work at theatres and festivals across Australia including: Festival of Live Art, Sydney Festival, Kaldor Public Art Projects, Belvoir Downstairs, Underbelly Arts Festival, Liveworks Festival at Performance Space, City of Darwin’s Launch Festival, Ainslie & Gorman Arts Centres, Tiny Stadiums Festival, Crack Theatre Festival and Peats Ridge Festival. She has worked as an assistant director in leading Australian theatre companies including La Boite, Griffin and Sydney Theatre Company. In 2016 Harriet participated in the SITUATE Art in Festivals Lab, developing new concepts for large-scale, site-specific and public-participatory artworks.

PENNY HARPHAM is the co-founder and co-Artistic Director of independent theatre company, She Said Theatre. She is a recent img_0997Directing graduate from the VCA where she was awarded the Barbara Manning Scholarship for Excellence and the Global Atelier Scholarship for Overseas Travel. In 2013 she won a Green Room Award for The Stream/ The Boat/ The Shore/ The Bridge (Next Wave Festival 2012) and was a recipient of the Ian Potter Cultural Trust Award (2015) which helped her complete a residency at the ZK/U in Berlin and undergo an internship with TheaterRampe in Stuttgart and Mullae Arts Space in Seoul. Her directing credits include the multiple award winning and Green Room nominated HART, Bock Kills Her Father, Laika and Wills, and Breaking. She has performed with Elbow Room, The Good Room, Brisbane Powerhouse, Motherboard Productions, Stella Electrika, She Said Theatre and Queensland Shakespeare Ensemble.

PRISCILLA JACKMAN is a graduate of the NIDA Directing course and 2016 recipient of Sandra Bates Director’s Award. For Sydney headshot__28_cleanTheatre Company, Priscilla created and directed Something For Cate: The Catherine McGregor Story (Rough Drafts) and assistant directed The Hanging, by Angela Betzien (2016). For Ensemble Theatre, Priscilla directed the Boatshed Program’s Importance of Being Earnest and assistant directed Good People and Barefoot in the Park. She is co-creator and director of new Australian play, The Angelica Complex, Kings X Theatre (2016). In 2014 Priscilla worked with Complicite (UK), creating resources for devising. As an actor in the UK Priscilla was a company member of MOPA, Theatre Adad, and was a founding cast member of Itchy Feet’s The Vegemite Tales. TV credits include All Saints, The Power Games, FortySomething. Priscilla is invested in an exquisite exchange between audience and actors through dynamic exploration of space using traditional and 21st century technologies.

ANDREA JAMES is a Yorta Yorta/Kurnai woman and graduate of VCA. She was Artistic Director of Melbourne Workers’ Theatre andrea_8989_1500x1500_by_helen_white-1from 2001 to 2008 and is best known for writing and directing Yanagai! Yanagai! at Playbox in 2004 touring to Wales and England. Andrea was Aboriginal Arts Development Officer at Blacktown Arts Centre and Aboriginal Producer at Carriageworks from 2010-2016.
In 2012 she directed Bully Beef Stew, at PACT Theatre, and co-wrote Coranderrk: We Will Show the Country and Corranderk with Giordano Nanni. She was recipient of British Council’s Accelerate Program for Aboriginal Art Leaders in 2013 and was recently awarded Arts NSW Aboriginal Arts Fellowship to write a one-woman play about Evonne Goolagong. Andrea performed in her co-written play Bright World with Elise Hearst by Arthur Productions at Theatreworks in April 2015 and directed her new play Winyanboga Yurringa at Carriageworks and Geelong Performing Arts Centre in August 2016.

CALEB LEWIS is a multi-award-winning playwright and latter-day theatre director. His plays include Nailed; Dogfall; Death in jeza6441_1Bowengabbie, Rust and Bone; Clinchfield; Destroyer of Worlds; The Honey Bees and Maggie Stone (published by Currency Press). In the last few years he has become increasingly fascinated with ludology and game design and how these principles might combine with narrative and performance to develop works that offer meaningful choice, exploring action and consequence, responding dynamically to create narratives co-authored by participants. 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. He hates the title of that last one but it still won a major award.

KASIA KACZMAREK Born in Poland and raised in Perth, Kasia studied acting at the VCA and the Esper Studio in New York. She is lr_56913artistic director of Fire Curtain Co., which supports the development of new work by Australian writers. She produced You Took the Stars for the 2014 Melbourne Fringe and The One at fortyfivedownstairs for the 2015 Poppy Seed Festival. She wrote and directed WHITE DOG for Red Stitch in 2016 and directed her mother Marta Kaczmarek in the one-woman show Roza for Arts Centre Melbourne and a Perth tour. She devised and directed Bring A Nice Dress, a show about brothel workers for the Perth Artrage Festival and assisted Brendan Cowell on the direction of Ruben Guthrie at Red Stitch in 2010. She was editor of the performing arts newsletter The Nosebleed Chronicle for two years and works as an actor and professional writer.

SUZANNAH KENNETT LISTER is an actor, director and playwright. She graduated from the Adelaide College of the Arts acting school in suzannahstudio187assmartobject22014. In 2015 she undertook a directorial mentorship with Geordie Brookman, working as assistant director on the State Theatre Company SA’s production of Betrayal and their collaboration with the Adelaide Symphony Orchestra Mendelssohn’s Dream.
She also took part in the Australian Theatre for Young People’s Fresh Ink playwriting mentorship with playwright Nicki Bloom.
In 2015, Myriad, written and directed by Suzannah was nominated for Adelaide Theatre Guide’s best cabaret award. 2016 has seen Suzannah attend ATYP’s National Studio as well as curating the State Library/ State Theatre SA commemorative event for the 400th anniversary of Shakespeare’s death and perform in Back Porch theatre’s debut production Schmidt. Suzannah has a keen interest in the development and production of new Australian work.

KERITH MANDERSON-GALVIN is a performer, playwright and theatre maker unashamedly concerned with personal identity and kerithgoestolabexperience; Kerith’s work begins with a Queer, Femme artist and what happens is a result of that. Kerith’s recent work Being Dead (Don Quixote), a re-construction of Cervantes/Kathy Acker’s Don Quixote was received as “A glorious mess with a serious purpose.” (Daily Review) and “She makes you question what business she has on a stage” (The West Australian). Kerith is currently studying a Masters in Writing for Performance at VCA, working with a group of DSG performers with the support of MKA Theatre on a new work 186, 000, and planning the much awaited song title launch of super-group Expen$$$ive (with band members Casey, Jenkins, Emilia Athanasiadis).

TOBIAS MANDERSON-GALVIN is a creative leader, artistic director, performance maker, writer, dancer, and cat-sitter from puntillasmall1Melbourne, Australia. He’s created a lot of shows. Maybe a billion. But, it’s not that many. He’s Artistic Director/CEO of MKA | Theatre of New Writing. He’s Director General of UK/Australian live performance company Doppelgangster. He twice played a combination of Adolf Hitler and David Hasselhoff called ‘Hitlerhoff’. He tours regularly as a performer/actor/hero. There’s other stuff on his website, on Google, and on the Wikipedia page he made himself in 2010 that you can find. Take it easy, mate.

DANIELLE MAAS is a multidisciplinary performance practitioner who has directed for the Sydney & Adelaide Fringe Festivals, the danielle_maas__headshot_2013Sydney Architecture Festival, and the Sprint Festival, London. Her first play, Country Matters, won a 2011 Sydney Fringe Award for Excellence: Devised Work, and was subsequently revived in Women, Power and Culture: Then & Now at the New Theatre that same year. Danielle is currently an Artistic Associate of Sydney Chamber Opera, where she has assisted directors Kip Williams and Sarah Giles; most recently, she was dramaturg on SCO’s Notes From Underground, directed by Patrick Nolan. She holds a Masters of Advanced Theatre Practice (Distinction) from the Royal Central School of Speech & Drama, and is also the recipient of a dramaturgy internship at Playwriting Australia, a residency with the UK Live Art Development Agency & Create Dublin, and the Ian Potter Cultural Trust Award.

DOMINIC MERCER Based primarily on the East Coast, Dominic is a dominic_mercer_shrunkgraduate of the National Institute of Dramatic Art (Directing) and The Victorian College of the Arts (Dramaturgy). Recent directing credits include The Block Universe (Or So It Goes) for Old 505 Theatre, On The Face Of Things for Western Australian Youth Theatre Company (2016), Attempts On Her Life for Dancehouse/NIDA (2015), Dominic has been an assistant director at Sydney Theatre Company, Melbourne Theatre Company and Griffin Theatre Company, and was an Affiliate Director at Griffin in 2012. In 2016 Dominic fulfilled the role of Acting Literary Manager at Belvoir St Theatre for several months, and is a regular reader and dramaturg for the Patrick White Award and Playwriting Australia. Across his directing/dramaturgy practices he has a deep passion for developing new Australian theatre. He has also worked with companies including Sport For Jove, Us-A-Um, Cross Pollinate, and Sydney Chamber Opera.

SUZANNE MILLAR  Co-Artistic Director of bAKEHOUSE Theatre and Creative Director of KXT – Kings Cross Theatre. Directing suzanne_millarcredits include BLACK JESUS; THE ISHMAEL CLUB; I AM WE ARE; HIS MOTHER’S VOICE; THE LADEN TABLE; 2CHAIRS; JUNCTION; A LAND BEYOND THE RIVER; COUP D’ETAT. 2012: Suzanne curated the StoryLines Festival (NIDA/TRS), working with Indigenous, Sudanese, Sierra Leone, refugee, Malaysian and Muslim artists. 2013: Visiting Artist on New Zealand’s Red Leap Theatre production SEA. 2014: established bACE Mumbai, working with award-winning NGO to create an arts program in Mumbai’s Red Light District, and building an artist’s exchange between Sydney & Mumbai. She is currently working with Hindi Playwright Purva Naresh on the bAKEHOUSE commissioned work JATINGA, staged in India and Australia in 2017. 2015: Suzanne worked at Park theatre, London, on the development of Justin Fleming’s new play DRESDEN. November 2016: Suzanne co-curates Women’s Festival INVISIBLE CIRCUS (KXT).

KELLY NASH is a dancer, choreographer and co-artistic director of Tohu dance theatre in New Zealand. Founder of Curve Dance kelly_nash7 Collective from 1997 till 2003, independently Kelly has directed Souvenirs of what I once descibed as happiness, this won Best Short Production and Best Stage Design at the Tempo Dance Festival. Awarded the Tup Lang Choreographic award she created MEME skin premiering at the Tempo dance festival in Auckland and The Beaten Track NZ. Indigenarchy comissioned by Atamira Dance Company was chosen to be performed at Jacobs Pillow Dance Festival in Massachusetts, USA then to San Fransisco, Hawaii.
In 2016 Kelly directed and choreographed Mā for Atamira Dance Company. Kelly together with Nancy Wijohn established Tohu Dance Theatre and Common Sense Healing practice in 2016. Tohu have created works Poaka Carrot Stone Catus and Ahua. Kelly choreographed/directed in Six Nations, Canada this year with Maori and Six Nation dancers.

SALLY RICHARDSON Sally is a director, writer, dramaturg & producer. She has worked with Black Swan Theatre Company, Perth sally_richardson_portrait_djw_0006Theatre Company, Spare Parts Puppet Theatre, The Flying Fruitfly Circus, Malthouse Theatre, Belvoir, NICA, NAISDA, WAAPA, amongst others. Productions of her work have been awarded Helpmann, Green Room, Blue Room, Ausdance WA Awards, Dance Australia Critics Choice & been presented at arts festivals nationally (Sydney, Perth & Melbourne) & internationally including Shanghai International Arts Festival & Beijing Dance Festival. She is a past recipient of Australia Council Dramaturgy & Cultural Leadership Fellowships, a Creative Arts Fellowship from DCA WA & Asialink alumni. Since 2001 her company Steamworks Arts has created more than 20 original works across multiple platforms. Recent works include: Rites: Dying to Dance, Standing Bird 1 & 2 & Trigger Warning produced by PLWA & PICA. Her new company MAXIMA: Circus Beyond Limits presents it’s first work FEARLESS in 2017.

LUKE ROGERS is a theatre director, actor, producer and teaching artist. He is a graduate of NIDA (directing), Theatre Nepean (acting) lukerogersand the Artistic Director of Stories Like These. Luke has directed at Griffin Theatre Company, ATYP, Seymour Centre, Old Fitz Theatre, New Theatre and NIDA, and works with many drama schools including AFTT, AIM Dramatic Arts, Sydney Theatre School, Actors Centre Australia and CQUniversity. Luke has worked as a dramaturg with Playwriting Australia. Previous positions include Resident Studio Artist with Griffin Theatre Company (2014), Theatre Manager of New Theatre and the Artistic Director of The Spare Room.

HALLIE SHELLAM is a Melbourne-based performance maker. She directs, creates, performs and writes form-breaking, immersive, img_0478_reduced_1narrative performance work that investigates our relationships to space, identity, imagination and memory. Hallie has worked with companies & artists and festivals such as Metanoia, Proximity Festival, POST, My Darling Patricia, Matt Prest & Clare Britton, Benedict Andrews, Marion Potts, The Malthouse, The MTC, The STC, Sydney Opera House, VCA, Monash University, Black Swan Theatre Company, Aphids, The Tamarama Rock Surfers, Declan Kelly, Arts House, Performance Space, Campbelltown Arts Centre. She is Alumni of the 2015 MTC Women Directors Program and her work Is This Somewhere You’ve Been Before was nominated for a Green Room award. She has a BA (Theatre Studies) from Murdoch University, graduated from the acting course at NIDA, has a Grad Dip (Directing) from the VCA and is curently doing an MFA at VCA in the Centre for Cultural Partnerships

LASZLO SZABO With over three decades of experience in the Arts, Media and Communications, Laszlo Szabo is a multi-disciplinary laszlo-head-shot-1practitioner who began his journey as a student of Theatre and Film at UNSW and as a street performer and actor before moving into directing and producing.
As a Jack-Of-All-Trades, Laszlo learnt his craft on the streets of Sydney and in the small and independent theatres of Sydney and Melbourne, co-founded and was AD for an independent, actor’s ensemble theatre, Fata Morgana, before establishing himself as a freelance and community based artist in the New England region of northern NSW. He has for over 25 years dedicated himself to engaging communities at grass roots level through the Arts and has to his credit close to 300 projects, events, productions, workshops and classes undertaken in Sydney, Melbourne, Regional NSW and in recent years, the Pacific.

MAEVE STONE is a freelance theatre director whose work emphasises musical innovation and interdisciplinary collaboration. screen_shot_20150126_at_20-07-04She conceives and directs site-specific plays adapted from literary texts or concepts and revisits the canon with a feminist lens. Originally from Limerick Maeve became resident Assistant Director at The Abbey Theatre in 2012 and following this became the inaugural Associate Director with Pan Pan Theatre Company. In 2016 she received the Arts Council’s Theatre Bursary Award in support of her work with avant-garde Australian company The Rabble. She is a member of the #WakingTheFeminists movement, adjunct lecturer in Theatre Studies at Trinity College Dublin and co-founder of Change of Address Collective, working to connect artists and refugees. Recent directing credits include Left Behind: Songs of the 1916 Rising, The Meeting House, Wake, The Red Room and Underground Gothic.

GEORGIA SYMONS is a maker of theatre, live art and games. She’s interested in crafting playful experiences in order to “play through” georgia_symons_headshot_smallcomplex issues and ideas. As a director for theatre, she has developed new Australian works including Yve Blake’s “Am I Good Friend?” (Edinburgh Fringe 2012); Harley Hefford’s “Meet Me for Meaning” (La Mama 2015) and the Platform at La Mama season (La Mama 2015), which lead to the formation of the Ribcage Collective. She has also worked extensively in youth arts, especially with Western Edge (“Shakespeare’s Trilogy”, 2015; “Of Longing and Belonging”, Geelong Courthouse 2016). As a live artist, Georgia’s recent works include “You Are Like Nobody” (La Mama 2014); “GL RY” (AIDS conference 2014); and “You Must Come Alone…” (Melbourne Fringe 2016). She completed a Master’s of Writing for Performance at the VCA in 2014, and has an extensive practice as a writer for theatre and performance.

YANA TAYLOR has a background in dramaturgy/direction, making performance and as a performer in yt_headshot_jump_img_4063_bcontemporary theatre. She worked with performance company, version 1.0 Inc (1999-2013). With this alliance of artists, Yana directed and performed ‘The Disappearances Project’, was deviser-performer in ‘The Table of Knowledge’, ‘Deeply Offensive and Utterly Untrue’ and ‘The Second Last Supper’; was deviser-production dramaturg on ‘this kind of ruckus’, ‘The Wages of Spin’ and ‘CMI: A Certain Maritime Incident’. She trained in acting and movement with Zora Semberova & Tadashi Suzuki’s company in Toga. As a professional dramaturg, Yana has worked with directors, Roslyn Oades and Ros Horin & physical theatre – Strings Attached. Yana taught performance making and movement at Theatre Nepean, UWS, at AFTRS, Wollongong, Monash and Flinders, chaired Urban Theatre Projects, advised on the multi-disciplinary Western Sydney Arts’ Strategy and Dance committees for ArtsNSW and Critical Path Dance Research Centre’s responsive program

CONCHA VIDAL (1975) has a degree in Psychology and a doctorate in Fine Arts at the University of Barcelona. She now works as a fotoconchaperformer and video artist after a long career as a painter and an art residence at University and Cooper Union and SVA (NYC). She has been performing in Swizerland, Croatia, Spain and Nyc. Her performances are an interdisciplinary confluence of theatre, dance and video art. With a very personal language, Concha weaves a new iconography in her poetic actions while recovering the spirit of the 60´s. Retaking the theme of woman, body and landscape from a fresh perspective, a view sometimes uncomfortable.

BRENT DAVIDSON is an emerging producer with a keen interest in inclusive, new and creative works. Following an internship with NewTheatricals (Jersey Boys, The Addams Family) a keen interest in producing headshot-bdtheatre was born. Forming a small company with fellow interns, Brent went on to produce Birthday Suit By Sarah Hodgetts and David Adlam with Tamarama Rock Surfers and Pippin Sidetrack Theatre in Marrickville. He then went on to Associate Produce Beautiful Thing as part of the 2013 Sydney Gay and Lesbian Mardi Gras with Burley Theatre. Now living in Melbourne he is establishing his first solo enterprise Twelfth House. Brent is the 2016 Directors Lab: Melbourne Assistant Producer.  

LETICIA BRENNAN-STEERS is an artist and director with a developing practice across performance, live art and theatre. Leticia l_brennan_steers_headshot-jpegis an ambitious practitioner whose work questions the performance of the real, boredom, inaction and the relationship between feminist and text. In 2016, Leticia will graduate with a Bachelor of Performing Arts from Monash University. Recently, Leticia completed a secondment with Matt Lutton on PICNIC AT HANGING ROCK (Malthouse Theatre). In 2015, she co-created and directed TESS (Melbourne Fringe / METANOIA), set designed WELCOME TO NOWHERE (Melbourne Fringe / Monash University) and was Assistant Director for CALAMITY (The Zoey Louise Moonbeam Dawson Shakespeare Company / MTC NEON). Leticia is the 2016 Directors Lab: Melbourne  Associate Artist.

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