shopping cart icon
View/Checkout


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.



17909491 10211486836438208 650234538 n

 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.

BlueBones Web V1

Book Now Button Blue Bones       4 13 May

Blue Bar

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.



Guy Webster HeadShot


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.

 

BlueBones Web V1

Book Now Button Blue Bones       4 13 May


Blue Bar

 

Playwright In Residence Banner

Writer In Residence Banner

In a new initiative, Playlab is welcoming Kathryn Marquet as our 2017 Playwright-In-Residence, who will be supported by the organisation for the year. The focus of her time with Playlab will be the creation of a new high quality work. To achieve this, Playlab will provide a fee to allow Kathryn to allocate more time to her writing, access to continual dramaturgical guidance, and when the project is ready, a workshop with actors. As part of the residency, Kathryn will take on a mentoring role with a young playwright, and additional employment as a tutor for some of Playlab’s professional development activities.

As it currently stands, Playlab can only support one playwright a year through this program. It is our intention to expand this initiative to more playwrights per year, but we need support to do this. If you are in a position to be able to help, please donate here.

Updates on the programs progression will be made through the year.

Kathryn Marquet Blue Banner

KathrynMarquet 2

Kathryn Marquet is a Brisbane-based playwright and actor. She is a graduate of the acting program at the University of Southern Queensland and holds an Advanced Postgraduate Diploma in Writing and Editing from the University of Queensland. She is currently completing a Master of Philosophy at UQ in playwriting and tutors regularly in playwriting and performance.


Her debut play, Pale Blue Dot, featured in the 2014 main stage season at La Boite and was published by Playlab. Pale Blue Dot was critically acclaimed and went on to be nominated for five Matilda Awards, including Best New Australian Work. Kathryn received a grant from Playwriting Australia to workshop Pale Blue Dot with nationally-acclaimed dramaturge Jane Bodie.


Kathryn’s contemporary adaptation of the classic novel The Secret Garden had a professional staged reading in 2015, directed by Ian Lawson and is currently under development. Her ecofeminist play Furious Creatures was a finalist in the Queensland Premier’s Drama Award in 2016 and received a public reading at Queensland Theatre in July of that year. Her most recent play, The Dead Devils of Cockle Creek, was workshopped through Playlab’s BETA Testing program in 2016. Kathryn’s plays have been workshopped by La Boite, Grin and Tonic Theatre Troupe, Queensland Theatre, Playlab, and the University of Queensland. In 2013, Kathryn held the position of Playwright in Residence at La Boite Theatre Company. Kathryn sat on the board of Associate Artists at Queensland Theatre from 2011 until 2013 and was engaged in the Emerging Artist Program at Queenslane Theatre in 2009.

As an actor, Kathryn has worked extensively in Australian theatre for La Boite Theatre Company, Queensland Theatre, Bell Shakespeare, and many independent companies. She has also played roles in TV series such as Secrets and Lies (Network 10) and Sisters of War (ABC). She won the 2009 Matilda Award for Best Emerging Artist and was nominated for the 2010 Matilda for Best Supporting Actress for her role as Mary Warren in Queensland Theatre's The Crucible.

Blue Bar

Dramawise Bundle Banner

dramawise product small

 

‘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.

Blue Bar

A New Stage Banner

Playlab 2017 Launch Banner

For 45 years Playlab has existed to support playwrights through the Development and Publication of new work.  In 2017, we're evolving into a New-writing Theatre and expanding our impact to include Production.  We are proud to announce our first show in partnership with Brisbane Powerhouse.

BLUE BONES by  MerlynnTong
4 -13 May, Visy Theatre, Brisbane Powerhouse

We have a number of other surprises in our program including the addition of Alpha Processing, a Playwright-In-Residence, a Rehearsal Room available for hire and new Creative Services for playwrights.  Check out the rest of the site to see what Playlab can do for you.

BlueBones Slider

Book Now blue Banner

Incubator Slider

Apply Now Banner Blue

Alpha Processing Website Banner min

Apply Now Banner Blue

Rehearsal Room Banner 3

 Book Now blue Banner

 

 
 

Facebook Button copy
Twitter Button


Instagram Button

 

Queensland Government Logo

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

 

 

© 2017 Playlab

PayPal-logo-1-1Aust Post logo