1. What do the CONDA awards mean to you as the director of a play like COSI?

To be honest, it was really unexpected so it鈥檚 a real surprise. In saying that, the cast was phenomenal. I guess it is validation that the CONDA judges noticed how talented each cast member was鈥hich is exactly how I felt bringing all of these amazing actors together for Cosi. I鈥檓 pretty blessed鈥nd excited. These actors absolutely deserve each and every accolade.

2. Why do you think COSI received a nomination for a CONDA award?

The cast just brought so much depth and soul to each character and I think that really resonated with the audience. Nothing was fake or forced…audiences are way too clever and switched on to sit through the theatre where copious amounts of gimmickry try to push the story arcs along. Cosi, as a play, allowed for the cast to just tell the stories of each character 鈥� the good, the bad and everything in between – without any level of bias. The timing also worked to our advantage. After lockdown, people needed to not only lose themselves in the theatre but also find themselves reflected in the characters鈥ll the messy, complicated, funny, heartbreaking, kind and not so nice parts of being human. The cast worked exceptionally hard to make sure every subtle nuance of each character was authentic. I鈥檓 stoked that all that hard work paid off.

3. What do you love about the plays of Louis Nowra?

Louis writes about what he knows and then allows for the actors to deep dive into each character. It can be easy to just skim the surface of a play like Cosi, but then you miss all the messy bits about being human. There is always a danger that you can go too big and force the audience into a certain way of thinking. Louis doesn鈥檛 do this, he throws out titbits of what we already know about the human condition and wraps all this in-character dialogue 鈥� coaxing the audience to be brave enough to hold a mirror up to themselves. With Cosi, Louis is bringing parts of his lived experience to the page, all the quirks and drama, the whys and the loose ends. His writing allows for actors to bring as little or as much of their own experience to the characters and this, in turn, allows for the audience to grasp onto a word, a sentence or a scene that resonates with them. He doesn鈥檛 expect anything, everything 鈥榡ust is鈥� and I love that. Plus, Cosi is such a stunningly authentic Australian play. How can anyone not like it?

4. When programming this play, how much did you consider the challenges of staging this very complex play in the small and unique CAS Theatre?

To be honest, the CAS Theatre was perfect for staging Cosi鈥lmost too perfect. With Cosi set in a burnt-out theatre 鈥� we had the perfect space as the CAS was going through renovations, complete with cladding falling from the ceiling. By not having to have to do too much to the set, other than dress it with props, allowed for the audience to focus on what was happening on stage. The smaller size of the theatre lends itself to actors being subtle in their actions and the space being intimate enough that people feel safe in the space. It is my ideal theatre.

5. How/why did you get into this industry/directing?

I always loved the magic and spectacle of theatre and was always collecting programs and scrimping and saving to go to musicals when I was younger. My parents had a vast collection of musical theatre tapes and my brother, sister and I learned to harmonise on long car trips. At uni, I majored in writing and film and continued to be creative wherever I travelled. When I was teaching out West, I coordinated theatre sports programs and wrote and directed student productions. When I came back to Newcastle I auditioned for community theatre and have been lucky enough to tread the boards in quite a few shows. (Shout, Thoroughly Modern Millie, The Wedding Singer, Into the Woods, Miss Saigon, Chess). My name was mentioned as wanting to direct some shows and ATWEA were happy to take a chance on me. I honestly thought I would direct a musical. Finding out I was about to direct a play was a surprise. Luckily I like surprises!

6. Have you been an actor yourself? How has being/not being an actor influenced you as a director?

I have been privileged enough to do a few productions here in Newcastle and I just loved being surrounded by creative types. I鈥檝e spent so much time watching casts who told stories and made me feel on a cellular level. If emotion meant not being note-perfect, or skipping a line or mucking up a dance step, I honed in. I love having a 鈥榟air standing up on the back of your neck moment. That鈥檚 what I encouraged. Real first, perfection (if it occurred) later. I also love getting to the 鈥榳hy鈥� of something 鈥� why would a character say that, move there, etc. I really wanted the actors in Cosi to delve into the nitty-gritty of particular backstories. Bring the 鈥榳hat might have happened in the past鈥� to their portrayal of the characters. They were brilliant at this, constantly questioning motives and backfilling any gaps. I鈥檓 all about the telling of the story, the whole story鈥ut not wanting to spell it out to the audience.

If emotion meant not being note-perfect, or skipping a line or mucking up a dance step, I honed in. I love having a 鈥榟air standing up on the back of your neck moment. That鈥檚 what I encouraged. Real first, perfection (if it occurred) later.

7. What was your favourite part of the rehearsal process?

I would have to say the audition process. I decided to be bold and have all of the actors’ audition at the same time by reading their monologues to all of the auditionees. Cruel, but essential. I really wanted to see both the courage and the vulnerabilities of each actor and further see how everyone else supported each other during the process. Cosi is such an ensemble piece and everyone needs to fit together perfectly without shaving off too many sharp edges. I had everyone partaking in theatre sports type activities (playing imaginary volleyball) just to get a feel for the comfort levels and see how much people were willing to trust me and the process. It worked. I ended up with an ensemble of incredible thespians.

8. What have you enjoyed and what have you been challenged by in the聽COSI production?

I think the biggest challenge was reminding myself that I was in charge鈥nd that was really daunting especially as I鈥檓 a team player and love input and ideas and problem-solving. I ensured the cast had a say in how things were done every step of the way and then only stepped in if something wasn鈥檛 working. I also made sure we had time set aside to check in with the cast. There are some really complex and potentially triggering concepts highlighted in Cosi so it was imperative that the cast knew they had a safe place to debrief. There was also the challenge of a few cast changes brought about by illness and having to postpone the original dates. Luckily we had incredible actors willing to jump on board. In terms of enjoyment, I just loved how everyone supported each other every step of the way. No ego, no drama, no pretence, just the hardest working, most creative group of people I have ever met. Need a piano made? Got it. Need a coffee? Got it. Need costumes? Got it. It鈥檚 rare to experience that level of camaraderie in the theatre and I truly hope I get to replicate it again.

9. What do you think audiences loved about聽COSI?

I think it was the light and shade. The content is really confronting. You鈥檙e taking characters that have complex mental health and placing them in the spotlight. That can be really confronting, so you have to make sure the portrayal is honest but done with so much sensitivity. Cosi doesn鈥檛 suspend disbelief, it holds a mirror up鈥lose. I love that the play has a distinct ebb and flow in terms of offbeat funny moments, disturbing backstories and heartbreaking disclosures. One minute you were laughing, the next you were holding your breath鈥ut it was perfectly balanced.

10. What are your next plans?

I have been promising myself that I will do some writing, so I need to start putting pen to paper and giving life to all the characters that are taking up so much space in my head. I am very keen to direct for ATWEA again and will certainly be throwing my hat into the ring for any opportunities coming up in the hope I get a chance to bring more people together to tell human stories. Please feel free to put in a good word for me!

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A key focus for 2021 is on student growth and development by utilising The CAS鈥� multi-functional venue facilities. These include a fully equipped theatre that caters for up to 110 people, as well as a newly refurbished outdoor courtyard in which students can gain experience performing in front of an audience.

鈥淥ur aim is to build our student鈥檚 confidence so they can successfully perform live and to give them the tools to develop as a professional musician,鈥� he said.

Adam brings extensive industry experience to The CAS as both a musician and event manager who has performed and directed events all over Australia, working with some of Australia鈥檚 top musicians in Australia鈥檚 best venues. 鈥淚 enjoy the artistry of performance and the challenge of working with a live band to entertain people. I also enjoy delivering events and working in a variety of unique venues,鈥� he said.

He now looks forward to working with students to share his expertise and to assist them to achieve their goals. 鈥淢usic is a way of life and as a career choice it can take you in many different directions and I am very fortunate to be able to share my knowledge and expertise with others,鈥� Adam said.

To find out more about these courses, visit: /music-industry

黑料不打烊 hires out The Creative Arts Space in Hamilton for external use of events. For more information, contact Adam at The CAS on: aferrier@atwea.edu.au or 02 4925 4200.

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Live events remerged at The CAS in December last year with a jazz performance from The Swing Kings and 黑料不打烊 student Aleksandr Coe. As part of Aleksandr鈥檚 practical components of his CUA50815 Diploma of Music Industry qualification he performed in front of a live audience of 40 people. The event showcased the real world experience that students are able to gain during their studies in 黑料不打烊鈥檚 Creative Arts programs by utilising The CAS theatre facilities that are on offer.

With a mixture of jazz instrumentals and stunning vocals, it was a highly enjoyable event for all that attended. This performance is the first of many upcoming shows which will be held at The CAS throughout the year.

To find out more, visit: /尘耻蝉颈肠-颈苍诲耻蝉迟谤测听

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The team behind the Little Mermaid, Aladdin and Beauty and the Beast – Alan Menken and Howard Ashman created this black comedy which asks the question, 鈥楬ow far are you willing to go to fulfil your dreams?鈥�

It follows the story of Seymour 鈥� a down-trodden flower shop assistant who during a total eclipse, discovers an unusual plant he names Audrey II after his co-worker he secretly fancies. Soon, Seymour discovers the plant thrives while feeding off his blood and as a result, brings the flower shop much attention and success.

Open to all ages, the dedicated cast ranged from 16 to over 40 years of age.

鈥淐ast members rehearsed for four months, giving up their free time to be part of the show,鈥橠irector Peter Willis said.

Cast aside, there was a huge amount of volunteers working on the music, choreography, set, props, costumes, lighting and sound.

A production like Little Shop of Horrors cannot work without a dedicated team working together.

WEA Hunter Musical Theatre Diploma alumnus 鈥� Zac Smith played the role of Seymour.

鈥淚t鈥檚 such a demanding role he was on stage for the majority of the action and it鈥檚 fantastic to see former students continuing to work on their craft and reaching new heights,鈥� Peter said.鈥�

There are a lot of creative people who work at WEA Hunter, so the CAS is a terrific opportunity for us to have that creative outlet and to work with the local community on something we are mutually passionate about – presenting quality productions and involving people of all walks of life.We are also incredibly grateful to the Newcastle Theatre Community which has been so supportive and encouraging.

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This production was an opportunity for our younger performers, aged between 5 and 14 years old, to be in a performance targeted specifically to their age group. The production was also the launch of our 鈥淵oung Directors鈥� program. This program aims to pair an aspiring director under 21 with a mentor who works with them to direct the project from the first rehearsal through the performances.

Grace Alston, under the mentorship of Lia Bundy and Kimberley Dingle, directed the production featuring a cast of 13 young performers. During the season Grace was able to refine her understanding of the role of director and how to translate a script from page to stage, considering elements of drama, actors, crew and stagecraft to enhance a performance.

The cast performed nine shows over three days and The CAS welcomed 730 audience members in to the venue. A vast majority of the audience were children under 12 who were experiencing live theatre for the first time.

The production was a huge success and, in the words, our youngest cast member, 鈥淚t was the BEST fun I鈥檝e had since last week!鈥�

Little Red Riding Hood and The Wolf was directed by Grace Alston and featured the following cast:

CAST

• LITTLE RED – Isabella Parker & Rosa Crispin
• THE WOLF – Kaj Harara & Christian Morrison
• GRANDMA – Emily Hinchey
• SNIFFY – Illy Morrison
• SEARGANT SUE – Alice Thompson
• PRIVATE SQUEALER – Elijah Pike
• PRIVATE SNORT – Rosa Crispin & Isabella Parker

ENSEMBLE

• Jaiden Andrew, Lucas Mears, Silas Mears, Dexter Morrison, Holly Rigby

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Directed by 2017 CUA50213 Diploma of Musical Theatre graduate, Kimberley Dingle and Musical Direction by 2017 CUA30213 Certificate III in Community Dance, Theatre and Events graduate, Eden Dennis, the production featured a cast of 20 performers made up of current students of our VET in Schools Creative Arts program and community members. This program allows graduates of our accredited programs to refine their industry skills and develop more experience as autonomous professionals.

This production marked the first time that Carrie has been presented in Newcastle. Performing to over 400 audience members, the production was well received, and audience members were impressed by how the production made use of the space.

The authors of the work in New York showed their support by sending the following note:

鈥淭he authors of CARRIE here in the States just wanted to reach out and wish you and your entire gang at 黑料不打烊 our best wishes for a fantastic opening night and successful run this week.

Australia has long held a particularly fond spot in our hearts 鈥� in addition to being one of our very favourite places in the world, it’s also been the home of several excellent CARRIE productions.

In working on our show, you鈥檝e no doubt come to realize that CARRIE is a musical that poses many challenges, but that it鈥檚 also a show that, in the right hands, offers just as many rewards.

It鈥檚 our heartfelt hope that you and your team find it a memorable, meaningful and personally gratifying experience 鈥� both in theatre and life!

Cheers from your friends and CARRIE family in America!

Larry (Lawrence D.) Cohen, Michael Gore and Dean Pitchford鈥�

Carrie Cast

• CARRIE WHITE – Sabine Cook
• MARGARET WHITE – Megan Williams
• SUE SNELL – Bonnie McPeak
• TOMMY ROSS – Benjamin Richards
• CHRIS HARGENSEN – Grace Alston
• BILLY NOLAN – Sam Hawkins
• MISS GARDNER – Kate Brown
• MR STEPHENS/REVEREND BLISS – Daniel Drayton
• GEORGE- Luke Barker
• FREDDY- Wesley McGrath
• STOKES – Dakota Dunlap
• FRIEDA – Abbey Dennis
• HELEN – Savannah Geddes
• NORMA – Jasmine Phipps

Ensemble

• Jessica Morgan, Laura Valentine, Jade Shearman, Georgia Vaughan,
  Shanaya Budden, Laura McKay

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