Notes from Underground Cast & Creatives

Jack Symonds

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Jack Symonds is a composer, conductor and accompanist, and Artistic Director of Sydney Chamber Opera. He studied composition at the Royal College of Music, London under Kenneth Hesketh and at the Sydney Conservatorium of Music where he received the University Medal. Trained also as a pianist and trombonist, he continues to work regularly as an accompanist and pianist, giving the premiere of many new works as well as frequently conducting his own and others’ music, including Britten’s Owen Wingrave (2013- Australian premiere) & The Turn of the Screw (2010), Dusapin’s Passion & O Mensch! (2016 Sydney Festival- Australian premieres), Romitelli’s An Index of Metals with Ensemble Offspring (2015), Benjamin’s Into the Little Hill & Kurtág’s … pas à pas- nulle part… (2014 Sydney Festival), Maxwell Davies’s The Lighthouse (2012), Kancheli’s Exil(2013) and Jonathan Dove’s chamber version of Janacek’s The Cunning Little Vixen (2011- Australian premiere). He has also conducted the world premieres of Elliott Gyger’s Fly Away Peter and Michael Smetanin’s Mayakovsky.

Significant composition premieres include Climbing Toward Midnight, a chamber opera re-imagining the second act of Wagner’s Parsifal, a piece for New York’s JACK Quartet, the Dostoevsky opera Notes from Underground (2011, and re-written 2016 for Carriageworks), Decadent Purity, a double concerto for BIFEM, stage work Nunc Dimittis, (2011), the song cycle Time Unredeemed (2010), a large-scale work for viola and piano, Song Cycle, written for violist James Wannan (2011), Sunless Communion (2013) for the Composers Ensemble at Dartington where he studied with Detlev Glanert as well as new pieces for Timo-Veikko Valve, Jane Sheldon, two works for Australia Piano Quartet, the Streeton Trio, cellist Patrick Murphy, and a concert series curated around his music by Affinity Collective which included three premieres.

His first album of chamber music is released of Hospital Hill in August 2016.

 

Patrick Nolan

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“Patrick Nolan, whose concept it is, directs this greatly complex piece in such a way that it feels quite simple and natural and incredibly satisfying. The flow of human history continues.”

Deborah Jones on Puncture for 2015 Sydney Festival

Patrick has worked in the performing arts for over twenty-five years, creating and presenting performances around Australia and the world. His productions have been presented in major festivals, opera houses, theatres, and on city streets; they are often remarked upon for the seamless way they combine video, live music and action to conjure visually rich, highly original theatrical worlds. He is a graduate of the National Institute of Dramatic Arts Directors Course and was Artistic Director of Legs On The Wall from 2009 – 2014.

In January 2015, his contribution to the Australian performing arts was acknowledged with an Australia Council Fellowship. This supports research into large scale outdoor performance and the relationship between extreme physicality and storytelling.

Other credits include:

OPERA: Seattle Opera, Katya Kabanova, Leos Janacek, 2016 / 17 season; Sydney Chamber Opera, Notes from Underground by Jack Symonds; Perth Festival – A Flowering Tree by John Adams, awarded Helpmann Award for Best Live Performance; Opera Australia – Acis and Galatea by Handel, Dido and Aeneas  by Purcell, Il Combattimento di Tancredi e Clorinda by Monteverdi, Eugene Onegin  by Tchaikovsky and Pellèas et Mèlisande  by Debussy; New Zealand Opera – La Bohème  by Puccini, Eugene Onegin  by Tchaikovsky; for NORPA, world première of Electric Lenin by Barry Conygham and Janis Balodis; For OzOpera, the Sydney Festival and the Melbourne Festival, world première of Love in the Age of Therapy by Paul Grabowsky and Joanna Murray-Smith; Sydney Conservatorium – Cosi Fan Tutte  and The Marriage of Figaro by Mozart and Dialogues of the Carmelites by Poulenc which opened the Music Workshop of the new Sydney Conservatorium of Music.

THEATRE: Tale of Samulnori – Legs On The Wall + AsiaNow, Puncture – collaboration between Legs On The Wall, FORM Dance and Sydney Philharmonia Choirs for Sydney Festival, Perch – Glasgow 2014 Commonwealth Games, collaboration with Scottish based Conflux and Brazilian based Lume Teatro; Symphony – NORPA + Sydney Festival 2013; The Voyage – London 2012 Cultural Olympiad, Legs On The Wall in collaboration with Motionhouse Dance Theatre; My Bicycle Loves You – Sydney and Perth Festivals; The Hour We Knew Nothing of Each Other by Peter Handke – Legs On The Wall with NIDA; King Tide by Katherine Thomson – Griffin Theatre Company; The Greatest Show On Earth – large scale outdoor production for Queensland Music Festival; Peer Gynt by Ibsen – University of Wollongong; The Female of the Species by Joanna Murray-Smith – Melbourne Theatre Company; The Flood – large scale outdoor production for NORPA; Tales from the Arabian Nights – Theatre of Image; Kura TungarSongs from the River with Archie Roach, Ruby Hunter and the Australian Art Orchestra – Melbourne Festival, awarded Helpmann Award for Best Live Performance; bash by Neil Labute – Glen Street Theatre; Below by Ian Wilding – Griffin Theatre Company; Macbeth by Shakespeare – Theatre of Relativity; The Imaginary Invalid by Molière – NIDA; Twelfth Night by Shakespeare – ATYP.

Patrick has travelled extensively in Asia, Europe, the Middle East and the Americas. In 2006 he was awarded a Creative Fellowship with the Faculty of Creative Arts, Wollongong University. He has also collaborated as a tutor and director with NIDA, the Sydney Conservatorium of Music, University of Sydney Performance Studies Unit, UNSW School of Theatre and Film Studies, and the Australian Theatre for Young People.

 

Genevieve Blanchett

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Genevieve is a multi-disciplinary designer, who works across the fields of performance, architecture, urban design, public art. She holds a Masters of Urban Design and Development (UNSW), a Bachelor of Design in Architecture (USYD) and a Bachelor of Design in Theatre (NIDA).

She has designed sets and costumes for many of Australia’s leading theatre companies, including the Sydney Theatre Company, Company B Belvoir, State Theatre Company of South Australia, Bell Shakespeare Company, Queensland Theatre Company, Melbourne Theatre Company and Griffin Theatre Company.

Genevieve has received numerous awards, scholarships and fellowships for her design work across all mediums, and is an alumnus of the Global Studio, a Columbia University/ USYD initiative focused on alleviating urban poverty. She was a founding board member of the disaster-relief NGO Emergency Architects Australia and is a past co-director of Sticky Situations, a South African community development organisation, where she specialised in leading arts-based development and capacity building projects.

Current projects include production design for Katya Kabanova with Seattle Opera (WA, USA), public space event design for the City of Sydney, and strategic cultural analysis for Gosford City Council with Architectus.

 

Nicholas Rayment

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 For Sydney Chamber Opera (SCO):  Passion, The Lighthouse, Through the Gates, I Have Had Enough.  Other Theatre: Sydney Theatre Company: The Hanging, Kryptonite (&STCSA), Mojo, Romeo and Juliet.  Bell Shakespeare: Macbeth, Romeo and Juliet. Sydney Symphony Orchestra & Bell Shakespeare: Romeo and Juliet (Prokofiev) Australian Chamber Orchestra & Bell Shakespeare: Intimate Letters. Smuin Ballet Company San Francisco: Oasis. Teatro ZinZanni (Seattle): The Hot Spot.  Legs On The Wall & AsiaNow: Tale of Samulnori, The Corrick Project. James Anthony Productions: Dirty Rotten Scoundrels. Michael Sieders Presents: The Very Hungry Caterpillar. Belvoir: The Baulkham Hills African Ladies Troupe. Griffin Theatre: Jump for Jordan.  Darlinghurst Theatre Company: All My Sons, Torch Song Trilogy. Sydney Festival: Inside There Falls, (Mira Calix), Spiegel Tent 2014, Wreck (P Space) As Lighting Associate: Theatre For New Audience (New York) The Father, A Doll’s House. Opera Australia/Handa Opera on Sydney Harbour: Carmen, La Traviata. Will O’Rourke: Moving Parts. Other: Sydney Biennale with Tacita Dean and CarriageWorks: Event for a Stage, Through The Gates.  Positions: Member of the Darlinghurst Theatre Co. Peer Membership Group. Training: NIDA.

 

Cloé Fournier:

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Cloé Fournier is a French born Australian based choreographer, movement advisor, dancer, physical theatre performer and actor.

Cloé’s work explores human behaviors, the female form and its relationship to modern society, as well as the crucible of life and death.

Her works include: Dining [Uns]-Table, I wish you were [Still], …Selves, Wished For and the Window. She has also choreographed theatre works by Augusta Supple, Michal Imielski and was choreographer’s assistant for Anton at the Australian Dance Awards 2014.

She has performed for companies and independent choreographers/directors such as: Branch Nebula, DirtyFeet, Kathryn Puie, Legs on the Wall, Martin del Amo, Pearse Projects, Shh Hybrid Arts Theory and Strings Attached in major international festivals (Biennale of Sydney, Sydney Festival, Santiago A Mil).

For more info: www.cloefournier.com

 

Brenton Spiteri

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“spirit, clarity and a depth of expression remarkable in a young artist”

Clive O’Connell, The Age, 17 March 2014

Brenton Spiteri is a graduate of the University of Melbourne, from which he holds a Bachelor of Arts/Bachelor of Music Performance with Honours.

In 2012, Brenton Spiteri won first prize in Australia’s major singing competition, the Herald Sun Aria, which allowed him to pursue overseas study in singing and languages. As a result, he has worked with singers and coaches from some of Europe’s leading opera houses, and is a current member of the studio at Opéra Lyon, France, where he has performed the role of Maréchal Trac in the International Opera Award winning le Roi Carotte. He is scheduled to appear with the company in 2017 as Mercury, First Soldier and Second Friend in l’Incoronazione di Poppea.

Brenton Spiteri has also had extensive performance experience in his home country, having performed roles for State Opera of South Australia, Pinchgut Opera, Victorian Opera, Sydney Chamber Opera, Brisbane Baroque and Melbourne Opera, in addition to solo appearances with the Adelaide and Sydney Symphony Orchestras and the Orchestra of the Antipodes. His roles encompass early music, standard repertoire and world premieres, with highlights including Tamino, the Magic Flute; Count Almaviva, the Barber of Seville; Clotarco, Armida; Nadir, les Pêcheurs de Perles; Jaquino, Fidelio; Harlekin, Der Kaiser von Atlantis; Magician, Snow Queen; and Aeneas, Dido and Aeneas. He has been a regular guest performer at the Melbourne Recital Centre, one of Australia’s premiere concert venues, giving full performances of Songs of TravelSongs of the Chinese, and English Folksong Settings, among various other works. For the Sydney Symphony Orchestra, he recently performed Britten’s extensive solo tenor work Les Illuminations. He has also premiered principal roles in new Australian works including Contact- A Netball Musical DramaKurskMayakovsky; and most recently the Helpmann Award Nominated Fly Away Peter, creating the role of Ashley Crowther, for which his “charismatic warmth and vocal agility,” “maturing excellence” and “extraordinary musicality and daring” were all highly praised. He will soon perform the role of Aboveground Man in the much anticipated Notes from Underground.

Whilst studying, Brenton Spiteri was the recipient of a number of scholarships offered by the University of Melbourne for excellence in vocal studies, and he has previously been a finalist and prizewinner in the Sydney McDonald’s Aria, the Australian Singing Competition and the 2014 Mietta Song Competition (Runner-Up and Australian Song Prize). He continued his development from 2012-2014 with the generous support of the Dame Nellie Melba Opera Trust as recipient of the John and Elizabeth Wright-Smith scholarship.

Other forthcoming engagements include Servant and Prince (cover) in Cendrillon for Victorian Opera; Town Crier and the title role (cover) in The Pied Piper for Victorian Opera; and tenor soloist in Rossini’s Stabat Mater for Napier Civic Choir, New Zealand. He will also return to the Melbourne Recital Centre in a solo recital of works by Ravel and Sondheim.

 

Simon Lobelson

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Born in Sydney of Egyptian parents and brought up in Brussels, Simon Lobelson gained his Bachelor of Music with First Class Honours from the University of Sydney and completed his Opera Diploma with distinction at The Royal College of Music on scholarship under Roderick Earle, with further studies under Sir Donald McIntyre, and continued his career in the United Kingdom for 9 years. He is fluent in almost four European languages; has sung in many masterclasses for some of the most revered names in the opera world; is the recipient of numerous awards and scholarships; and has since worked as a soloist in Australia, the Middle East, New Zealand, Asia, the United Kingdom and Europe.

Simon has performed over 65 operatic roles, having worked with companies such as The Royal Opera House Covent Garden, English National Opera, Garsington Opera, Chelsea Opera Group, Pinchgut Opera, English Touring Opera, Buxton Festival, Longborough Festival Opera, Iford Festival Opera, Valladolid Opera, The European Opera Centre, The Classical Opera Company, Canberra International Music Festival, Sydney Chamber Opera, The Young Vic, British Youth Opera, Swansea City Opera and The Opera Project in a wide range operatic roles including Escamillo, Rigoletto, Alberich, Amfortas, Germont, Marcello, Ford, Aeneas, both Rossini’s and Mozart’s Figaro, Don Alfonso, Guglielmo, Masetto, Papageno, Osmin in Zaide, Michele in Il T abarro, Claudio in Beatrice et Benedict, Quinalt in Cilea’s Adriana Lecouvreur, Nottingham in Donizetti’s Roberto Devereux, Mittenhofer in Henze’s Elegy for Young Lovers, the title role in Smetanin’s Mayakovsky, Spencer Coyle in the Australian premiere of Owen Wingrave (winning Time Out Sydney’s Best Opera Award 2013) , Harry Easter in an Evening Standard Award-winning production at the Young Vic of Kurt Weill’s Street Scene, Ramiro in Ravel’s L’heure espagnole, The Pirate King and also covered major roles for Royal Opera House Covent Garden and English National Opera. He has worked with such renowned directors as Jean-Claude Auvray, Patrick Nolan, Ian Judge, John Copley, Bruno Ravella, Melly Still, Cheryl Barker and Jude Kelly.

On the concert platform, highlights have included Haydn’s Creation and Nelson Mass with the Israel Camerata and London Mozart Players under Simon Halsey, Berio’s Sinfonia under Pierre Boulez for the Lucerne Festival, Gubaidulina’s Jetzt immer Schnee with the Sydney Symphony Orchestra under Reinbert de Leeuw and again under Daniel Reuss for the Lucerne Festival, Elijah (bass 1) with the Sydney Symphony Orchestra under Paul McCreesh, Paul Stanhope’s Jandamarra with Sydney Symphony Orchestra, Bach’s Christmas Oratorio and Ascension Oratorio alongside James Bowman, Duruflé’s Requiem and Gounod’s Messe Sollonelle at St. Johns Smith Square London, Messiah with the Darwin Symphony Orchestra, Mozart’s Requiem and Great Mass in C minor with the English Chamber Orchestra, Messiah, A Sea Symphony, Ein Deutsches Requiem, Elijah, Carmina Burana and Rameau’s Les Grands Motets, Bach’s Johannes-Passion and Duruflé Requiem with Sydney Philharmonia Choirs, and in venues such as The Sydney Opera House, City Recital Hall, St. Marys Cathedral, Aldeburgh, Snape Maltings, Cadogan Hall, Queen Elizabeth Hall, Birmingham Symphony Hall, Sydney Town Hall, Handel House, St. John’s Smith Square, Brighton Festival, LSO St. Lukes, York Minster, Sydney Town Hall, St. Martin in the Fields and New Year’s Day Concerts and Opera Galas all over China with the Kent Sinfonia for the OLA Asia Group. He has also sung with some of England and Australia’s finest ensembles, including Song Company, ACO Voices, Cantillation, BBC Singers and London Voices.

Current and recent projects include Creonte in Haydn’s Orfeo ed Euridice under Richard Bonynge, Beethoven’s 9th Symphony and Israel in Egypt with Sydney Philharmonia Choirs at the Sydney Opera House, Pascal Dusapin’s Passion for the Sydney Festival, Puccini Messa di Gloria and excerpts from Tosca (Scarpia) with New Zealand’s Napier Civic Choir and Hawkes Bay Orchestra, Victory Over the Sun for Sydney Chamber Opera and the Sydney Biennale, Sharpless in Madama Butterfly for Opera Projects, Handel’s Israel in Egypt and CPE Bach Magnificat with Sydney University Graduate Choir, the title role in Jack Symonds’ Notes from Underground for Sydney Chamber Opera, Walton’s Façade, and Nick Shadow in Stravinsky’s The Rake’s Progress in the UK for Bury Court Opera.

His recordings include The Sofa for Chandos, Haydn’s Nelson Mass and Nicolai Mass for Israel Camerata, Purcell’s The Fairy Queen and Charpentier’s David et Jonathas for ABC Classics; broadcasts for Classic FM, Fine Music FM, Foxtel and BBC Radio 3; on soundtracks to exhibitions at both the Australian and British Museums, and on the inflight soundtrack for British Airways and Qantas flights. Simon is also a lecturer and coach at the Sydney Conservatorium of Music, a judge for the Sydney Eisteddfod, has coached for Pinchgut Opera and has given masterclasses in both Australia and China. For more information, please visit Connaught Artists (World Representation), Diva Management (Australasia) or www.simonlobelson.com

 

Jane Sheldon

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Soprano Jane Sheldon specialises in the performance of new and recently composed chamber works. Praised by the Washington Post for “a stunning performance”, by the New York Times for singing “sublimely”, and by The Australian for bringing “mesmerising emotional truth” to her work, she has appeared with acclaimed ensembles across the globe, including the London Philharmonic Orchestra, Sydney Symphony, Pinchgut Opera, Boston Camerata, the Australian Brandenburg Orchestra, Talea Ensemble, Sound Icon, and the Australian String Quartet. Jane is a member of Ekmeles, a New York-based group of specialists in avant-garde vocal music. Jane is also a member of the international touring ensemble for composer John Zorn. She has appeared at international arts festivals such as the Adelaide Festival, Sydney Festival, Jerusalem Sacred Music Festival, Lincoln Center Festival, and the Huddersfield Contemporary Music Festival. In 2011 Jane was awarded Performance of the Year with Ensemble Offspring at the Australian Art Music Awards for The Origin Cycle, a work she co-commissioned, supported by the Australia Council for the Arts, Harvard University, Stanford University, the Australian National University, and the Australian Museum. She is the director of Symbioses, a traveling chamber music series focused on contemporary duos and trios, and is an Artistic Associate of Sydney Chamber Opera. In February 2016, Jane was nominated for the Classical:NEXT Innovation Award, an international award recognizing contributions to contemporary classical music.

 

Drew Wilson

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Drew graduated from the Victorian College of the Arts in 2010. His theatre credits include The Very Hungry Caterpillar Show (Michael Sieders Presents, 2015-16), Hamlet [Working-Title] (Lightbuldhead Productions, 2015-2016), Warhorse (National Theatre and Global Creatures, 2012-2013), After the End (Felicity Nicol, 2012), Hunny Bunny’s Sagittarian Full Moon Final (Julian Hobba, 2011). His film and television credits include Sunday Night’s The Power of Ten (Channel 7, 2015), The Death of Abel (NIDA, 2014), Legacy (AFTRS, 2014), Plans (Di Popovska and Peter William-Jamieson, 2014), Crownies (ABC, 2011). In September, Drew will be travelling to Tasmania to work with Loudmouth Theatre Company as a puppeteer and performer.

 

Kyle Kazmarzik

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When his family moved from WA to Adelaide and he finished high school, Kyle immediately enrolled at the Adelaide College of the Arts to begin his acting training. Since graduating in 2009, he’s starred in seven stage shows including The Crucible as John Proctor and Spring Awakening: A New Musical as Hanschen Rilow. He’s also starred in 11 short films, several of which he wrote and produced, and in an independent feature film titled The Follower: The Slender Man Documentary. Kyle then continued to hone his craft through further training at NIDA, commencing in 2013.

While at NIDA, Kyle was honoured with the Hazel Treweek Shakespeare Award for his excellence in classical text. This inspired him to begin developing his own work, producing and directing three one-act plays that he wrote for the NIDA Student Festival in 2015.

Kyle has since acted in The Pride, directed by Shane Bosher, as The Man, Peter and Doctor. And Unfinished Works, directed by Clemmie Williams, as Jimmy.

 

Oleg Pupovac

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A native of the former Yugoslavia, Oleg is a Sydney based actor and theatre maker. A graduate of the Actors’ College of Theatre and Television, in 2013 Oleg founded the independent theatre company, Two Peas with Tara Clark. His most recent credits include the lead role in Edmond by David Mamet (Old 505 Theatre, 2015), directing the critically acclaimed Blink by Phil Porter (107 Projects, 2016) and producing the new Australian play Drift by Tara Clark and Kieran Foster (ATYP, 2016). When Oleg is not too busy performing or being a Pea, he spends his time listening to history podcasts, fantasising about being in an Emir Kusturica film and drinking whisky. In that order. Oleg is privileged to be a part of such a dedicated and talented team that is the Sydney Chamber Orchestra and thrilled to be performing in his first ever Opera.

 

George Kemp

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George trained at the prestigious Royal Central School of Speech and Drama, London. Recent theatre credits include Taming of the Shrew (Sport for Jove), Cyrano de Bergerac and Rosencrantz and Guildenstern are Dead for The Sydney Theatre Company, Bull (Old Fitz and Sydney Arts Guide Winner of Best Independent Drama). Whilst in London, theatre credits included Longing (Hampstead Theatre), The Bowl (Young Vic), Othello (Emanate), Three Sisters (RCSSD), The Seagull (RCSSD), All’s Well That Ends Well (RCSSD). Recent TV credits include the upcoming series Doctor, Doctor. George trained previously with Cheek By Jowl and Charles Sturt University and has voiced animations (selected for British Shorts Festival in Berlin) as well as appearing in several national and international commercial campaigns.

 

Zubin Kanga

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London-based Australian pianist, Zubin Kanga has performed at many international festivals, including the BBC Proms, Aldeburgh Festival, London Contemporary Music Festival, Cheltenham Festival (UK), ISCM World New Music Days, Metropolis New Music Festival, BIFEM (Australia), IRCAM Manifeste Festival (France) and Borealis Festival (Norway) as well as appearing as soloist with the London Sinfonietta, Arcko Symphonic Ensemble, Four Winds Festival Orchestra and the Melbourne Symphony Orchestra.

Zubin has collaborated with many of the world’s leading composers including Thomas Adès, Michael Finnissy, George Benjamin, Steve Reich and Beat Furrer, and premired more than 60 new works including two piano concerti. He is a member of Ensemble Offspring, and has also performed with Ensemble Plus-Minus, Endymion Ensemble, and the Kreutzer Quartet, as well as performing piano duos with Rolf Hind and Thomas Adès. He has won numerous awards including the Australian Art Music Award for Performance of the Year (NSW), the ABC Limelight Award for Best Newcomer and first prize at the inaugural Keys National Piano Competition. His recent recordings include Not Music Yet (Hospital Hill Recordings), Orfordness (Metier) and Piano Inside Out (Move Records), which was nominated for Best Classical Album at the Australian Independent Music Awards.

A Masters and PhD graduate of the Royal Academy of Music, London, Zubin is currently a post-doctoral researcher at the University of Nice and IRCAM, Paris and a Research Fellow at the Royal Academy of Music.
www.zubinkanga.com

 

Clemence Williams

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Clemence has recently completed a Master of Fine Arts (directing) at the National Institute of Dramatic Art (NIDA) and in 2014 completed Bachelor of Music at the Sydney Conservatorium in 2014, majoring in classical voice. While studying at the Conservatorium, she was involved in twenty-one productions with the Sydney University Dramatic Society (SUDS) as an actor, director, designer and composer, and was also heavily involved in the university’s sketch comedy and music scenes. In 2012, she directed the Sydney University Arts Revue, and was subsequently elected to direct SUDS’ annual major production, with a gritty interpretation of Bertolt Brecht’s The Threepenny Opera. In 2013, she also worked as director of Verge, Australia’s largest student-run arts festival. In 2014, she collaborated with fellow Masters of Fine Arts (Directing) student Ben Sheen to stage Martin Crimp’s Attempts On Her Life, in a production that united a cast from two different states on stage. She also directed Eugene Ionesco’s The Chairs for the Sydney Fringe Festival. While studying at NIDA in 2015, Clemence directed a music video for Triple J Unearthed band Lilt as well as directing Sports Play by Elfreide Jelinek for her graduation production.
In 2016 Clemence has directed Unfinished Works by Thomas De Angelis at the Seymour Centre, The Cherry Orchard with the New Theatre, a reading of KIN for the Sydney Theatre Company’s Patrick White Playwright Award. She will be directing a new work, Transience at the Sydney Fringe festival as well as a site specific opera for the Jetpack Theatre Company in November.

 

Danielle Maas

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Danielle is a multidisciplinary performance practitioner and an Artistic Associate of Sydney Chamber Opera. For SCO, she has been engaged as a performer (Victory Over The Sun), assistant director (O Mensch!, An Index of Metals and The Lighthouse), company manager (Passion), and stage manager (His Music Burns, Through The Gates, Notes from Underground). As a freelance dramaturg, she has facilitated new work for BARK, Room 39, Alter and Cupboard Love; she is also a recipient of the inaugural dramaturgy internship at Playwriting Australia. Danielle graduated with a M.A. in Advanced Theatre Practice (Distinction) from the Royal Central School of Speech & Drama in 2015.

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