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In the lead up to the launch of Blue Bones by Merlynn Tong we're keen for everyone to get to know the all star team of creatives we have working to bring this story to life.  Meet Neridah Waters the brilliance behind our Choreography.



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Professionally, what’s your goal?
My goal is to make exciting theatre.  I love working with other creative people that have a shared aesthetic and philosophy. I step into various roles depending on what the project needs. Whether that be as a actor, director, stage manager, dancer, choreographer or just an idiot in a leotard pumping up the audience.
 
What’s the best piece of advice you’ve been given?
At the end of the day it's 'a play'. Sometimes as artists we can take our work very seriously and get anxious and stressed. But at the end of the day it's not brain surgery, we're making art to inspire other people and the best art comes from the joy of play, even the most tragic stories.

Why do you do what you do?
Basically I do what I do because it makes me happy. And I'm good at it.
 

 

Bio:
Neridah Waters is a choreographer, performer and theatre maker. She trained as an actor at UWS Nepean then in Japan with Tadashi Suzuki and Frank Theatre. She has toured extensively across Australia and internationally including work in Belgium, The Netherlands, Canada, England and the USA with projects including Lala Parlour’s Tarnished, The Common People Dance Project and boy girl wall and is a founding member of The Brides of Frank, Lala Parlour and The Escapists. Her performance work includes Sacre Bleu with Queensland Theatre Company and The Dance of Jeremiah, The Year Nick McGowan Came To Stay, Attack of the Attacking Attackers! and Johnno for La Boite, Tashi for Imaginary Theatre and Railway Wonderland for NORPA. As a choreographer Neridah’s work includes: The Venetian Twins, The Cherry Orchard, Away, The Glass Menagerie and Show for Queensland Theatre Company and Boomtown, Under This Sky and The Isaac Project for Queensland Music Festival.

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David Walter Blue Bar

In the lead up to the launch of Blue Bones by Merlynn Tong we're keen for everyone to get to know the all star team of creatives we have working to bring this story to life.  Meet David Walters the intellect behind our Lighting Design.



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Professionally, what’s your goal?
To be fluent in the language of light. 
 
What’s the best piece of advice you’ve been given?
Allow curiosity to teach one how to ask the right questions.
 
What’s your favourite art work?
Not a specific art work but favourite artists would be Caravaggio, Rembrandt, Turner, Monet and Frida Kahlo.
 
What themes do you pursue?
As complete an understanding of life, art, science and the universe as my time on earth allows.
 
How has your practice changed over time?
A belief in my ability to judge my own work has freed me of a need to seek peer approval. A growing joy in assisting others to learn.
 
Why do you do what you do?
To find a way to codify the linguistics of light as beautifully as poetry and as precisely as the language of maths.

 

Bio:
For the past 40 years David Walters has worked as a professional Lighting Designer in Iceland and Australia. His work experience spans lighting designs for opera, theatre, ballet, dance, puppetry, circus, exhibitions, major events and architectural installations. From 1978 to 1986 David worked as a freelance lighting designer in Iceland where he is recognised as one of the pioneers in this field. In 1986 David returned to Australia to take up a position as Resident Lighting Designer with the Queensland Theatre Company. Since 1990, as a freelance designer, he has worked extensively throughout Australia and designed for the Melbourne Theatre Company, Sydney Theatre Company, State Theatre Company of South Australia, Handspan, Playbox, La Boite, Rock ‘n’ Roll Circus, Nimrod, Company B, Expressions, Queensland Ballet, Australian Ballet, Opera Queensland, The Powerhouse, Queensland Performing Arts Centre, Zen Zen Zo, Topology and Bell Shakespeare Company. His work has toured extensively both in Australia and overseas. He has lectured in lighting design at several universities and is currently an Adjunct Associate Professor at the Queensland University of Technology. Throughout his professional career David has maintained close ties with Iceland where he has worked for the National Theatre, the National Opera and the Reykjavik City Theatre

 

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Guy Webster Sound Designer

In the lead up to the launch of Blue Bones by Merlynn Tong we're keen for everyone to get to know the all star team of creatives we have working to bring this story to life.  Meet Guy Webster the genius behind our Sound Design.



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Professionally, what’s your goal?
In my professional practice I aim to satisfy my own obsessions with music and sound while assisting the truth of the story to shine through.  
 
What’s the best piece of advice you’ve been given?
Go for the crescendo.  Even if you think it's in the way.  I still struggle to achieve this without thinking, 'I see what you are doing there'.
 
What’s your favourite art work?
This is not possible to narrow down to a single work:

Rodin - Crouching Woman;
Brian Eno & Harold Budd - The Pearl;
John Coltrane - A Love Supreme and Ascension 1 & 2,
Paul Vo - Wond.
This is a potentially very long list but I will stop there
 
What themes do you pursue?
Truth, justice and how to make it feel like it is really there
 
How has your practice changed over time?

In my early career, I was dancer and folk singer.  Now I just make silly noises and try to sit very still.
 

Bio:
SOUND DESIGNER/COMPOSER/COLLABORATOR
Guy works across the mediums of theatre, dance, sound art, installation and new media. During his early career as a dancer & choreographer Guy developed his practice as a composer and musician.  His work has since featured in theatres, festivals and galleries throughout Australia, Japan, Europe, UK, USA and China and his live performances have shared the stage with the likes of Beth Orton, Ed Harcourt, Powderfinger, The Cruel Sea, Mad Professor and Sarah Blasko.  Guy has created music and sound for many theatre & dance works with Queensland Theatre Company, Sydney Theatre Company, La Boite Theatre Company, Shake & Stir Theatre, The Brisbane Festival, Bleach Festival, Dance North, Jute Theatre Co, Backbone Youth Arts, State Library of Qld, Out of the Box Festival, Shock Therapy, Lisa O’Neill, Goat Track Theatre, Stella Electrika, Wilde Applause & Red Shoes. Guy is also a founding member of new media performance and installation group, The Transmute Collective.

 

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Nathan Sibthorpe Blue Bar

In the lead up to the launch of Blue Bones by Merlynn Tong we're keen for everyone to get to know the all star team of creatives we have working to bring this story to life.  Meet Nathan Sibthorpe the boy wonder behind our Video Design.



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 Professionally, what’s your goal?
To find the freedom to make work on artistic impulse. To make work that connects people. I love what David Foster Wallace says - for people to “become less alone inside”...
 
What’s the best piece of advice you’ve been given?
It wasn’t given to me, but -
“You are what you love, not what loves you.” -Donald Kaufman
 
What themes do you pursue?
For theatre, I pursue a sense of presence - for the work to dynamically exist with the audience. For the audience to feel allowed to ‘be there’ and for their attendance to hold significance. For Blue Bones, I think the act of sharing between Merlynn and the audience is its most exciting feature. We’re here gathered as a community to participate in an important act of storytelling.
 
How has your practice changed over time?
My tastes have gotten stranger over time. I’m less enthusiastic about everything, and more painfully passionate about certain things.

Why do you do what you do?
I say that I’m a theatre artist because I think I’d make a terrible dentist. But really this all just happened and I can’t figure out what else I’d do instead.
 
Bio:
Nathan Sibthorpe is a contemporary performance-maker and AV Designer. He was previously Queensland Theatre Company’s Geek-In-Residence in 2012-14; the Festival Director of Short+Sweet Queensland from 2013-16; and an Australia Council JUMP artist in 2012. Nathan is currently the Creative Director for Markwell Presents Cinematic Theatre Company, and the Co-Director of Counterpilot Transmedia Performance Collective.

As an AV Designer, notable credits include: Tyrone & Lesley in a Spot (Qld Cabaret Festival 2016); Viral (Shock Therapy Productions 2016); He Dreamed a Train (Brisbane Powerhouse 2014); and The Social Me (Artslink QLD, 2012). As a performance-maker and dramaturg, other credits include: This Is Capital City (Brisbane Powerhouse, 2015); Total Dik (Queensland Theatre Company, 2013); and Some Dumb Play (Metro Arts, 2012). Nathan teaches performance studies at QUT, where he holds a Bachelor of Fine Arts with distinction, and where he is currently undertaking a Masters Degree in contemporary performance.

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Dramawise Bundle Banner

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‘In drama, we are the creators. Like in a skeleton, the bones of drama only work together. The human context—the situation, the people and their relationships—are the flesh. The body is given shape and animated by the way we focus those basic elements, and how we place them in space and time. We breathe life into the body through the story and the tension we create, and we give it language and movement to express itself, clothing the drama with its mood and symbols.’

In 1987, Brad Haseman and John O’Toole released Dramawise, a dynamic guide to drama education. This book stands as a definitive text for teachers, students and drama practitioners, shaping many classroom programs and curricula at a state, national and international level. Dramawise Reimagined is the successor. It reaches beyond the original concepts, offering newly challenging drama activities that reflect complex questions in today’s society.

 

 

Dramawise Reimagined is available from Currency Press: https://goo.gl/g3NFDD

To celebrate the launch of this text book, we are offering a discounted bundle of all three of the Playlab Published texts featured inside.

Snagged by Robert Kronk: Snagged is a poignant and funny story about coming of age, discovering who you are, and vegetarian sausages. Sam, the butcher’s daughter in a small country town, is a closet vegetarian who plans to get to the city as soon as possible. until she meets Josh, who has done the unthinkable and moved back home.

Motherland by Katherine Lyall-Watson: Based in fact, the epic and intimate Motherland intertwines the sweeping stories of three very different women from different times, united in the heartache of exile from their homelands.

From the chaos of a Russian military coup, through the hell of Nazi-occupied France to a turbulent Brisbane in the throes of the Fitzgerald Inquiry, Brisbane playwright Katherine Lyall-Watson has penned a painstakingly researched historical drama about how world-changing events can ripple out and take a terrible toll on everyday lives.

Today We're Alive by Linden Wilkinson: The Myall Creek Massacre of 1838 was a significant event in Australia's history. For the first time, the white perpetrators of the systematic murder of Aboriginal people were tried and convicted of their crimes. Today We're Alive is a verbatim play about the efforts, over 100 years later, to create a fitting memorial to this event, which led to a powerful experience of reconciliation and healing for the descendants of the victims and murderers alike.

Ngiyani winangay ganunga. We Remember Them.

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Playlab New-writing Theatre is supported by the Queensland Government through Arts Queensland     

 

 

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