Produced by: Neil Gooding Productions Pty Ltd ,
Celebrating in concert style, this stunning evening is inspired by and in honour of the most loved superstars that have Gone Too Soon. Sharing the sensational music & legacy of artists such as Michael Jackson, Prince,Amy Winehouse & George Michael to the powerful songbook of Freddy Mercury, Jim Morrison,Janis Joplin & Whitney Houston, this compilation delivers hit after hit!
Starring three powerhouse vocalists, accompanied by a stellar live band, this electrifying performance is not to be missed!
Gone but not forgotten, their legacy lives on through their music forever.....
Produced by: GAFA Arts collective (GAC) ,
KAVA GIRLS A play with songs
'warmth and heart that is rarely found' LGBTQ Arts Review
Sinalei is a young fa'afafine (A Samoan cis-gender male who lives as female) who lands her first job in a West End show. She shares the understudying twilight with the gutsy Salma, and the unflappable Debra. Three performers, three lives, one role. Kava Girls is an astute work about hopes and dreams and the rocky road to stardom. The worlds' first fa'afafine music theatre piece, Kava Girls is packed with original songs, pathos and humor is unmissable.
Produced by: Musical Sprouts ,
'A Day In The Life Of You' is a musical theatre show for children aged 2 - 6 and their grownups featuring three-part harmony singing, live instruments, theatre and gorgeous artistry to create a colourful world for children which reflects everyday life in a most imaginative way!
The show follows three characters, Yella, Reddy and Blueno as they progress through their day in the land of the Sprouty Sprouts. Although excited about putting on a show for their audience, each time they get started they discover that Yella (the child of the family) isn’t ready. Through an enchantinghour of song and dance, Yella is coaxed and prodded by the patient and caring Reddy and the stern, yet hilarious Blueno to get dressed, brush her teeth, clean up and go to the toilet. The show explores themes of independence, finding your voice, belonging and the importance of creativity.
Lennon & McCartney – Creations is a dynamic show providing professional lighting and full production assisted by a meticulously handpicked group of musicians. John Kater leads the show narrating and singing the songs of John Lennon and Paul McCartney. Produced by the already well established Beatle Boys, the sequence of songs in this new show is accompanied by a narrative to help the audience reach in and be part of what made Lennon and McCartney both together and individually. Lennon & McCartney – Creations is uniquely well placed in the theatre as much as it is a dynamic live performance.
Produced by: Le Moana ,
If you are a dreamer, come in.
If you are a dreamer, a wisher, a liar,
A hope-er, a pray-er, a magic bean buyer . . .
If you’re a pretender, come sit by my fire,
For we have some flax golden tales to spin.
- Shel Silverstein
Inspired by the works of renowned American writer Shel Silverstein, Shel We? is an invitation. An enchanting, playfully intriguing and visually stunning dance show.
Award winning choreographer Tupua Tigafua is a highly accomplished dancer and one of the most ingenious storytellers of this generation. After an illustrious career dancing for some of Aotearoa’s creative elite - Black Grace, Mau and NZ Dance Company, Tupua has masterfully created a unique and cutting edge dance style.
Produced by: KTC Entertainment ,
More than just a Piano Man, Billy Joel is a living legend of the music industry with a catalogue of hit songs spanning nearly 50 years. The singer/songwriter not only has fascinating stories behind his music, but also compelling stories behind the man himself.
Featuring live performances of his greatest songs, along with audio visual footage and narration.
Produced by: Hood Street Fishing Club ,
Hood Street: The Musical takes you on a journey through a night on the town on the legendary Hamilton street. Nick and Courteney transform into twelve different characters who we all know from our nights out bar-hopping, not only in Hamilton but across New Zealand. Each of the thirteen songs presents a window into the trials and tribulations of these people and asks the heavy questions: will Jim and Kate get together after their first Tinder date? Will anybody believe Ricky Cox's self-aggrandising tales? Why can't Brent get over Amanda? Will Jane ever emerge from the shadow of her more attractive and more popular friend, Bea? And why on earth are Andrew and Brenda still together after yet another argument in a restaurant?
With each song set against the backdrop of a well-known night-out trope – the fishbowls, the ladies' toilets, the karaoke bar, the Uber ride home – audiences will feel like they have traversed a full night out through the rapid-pace of a production rooted in contemporary musical theatre styles with references to the much loved classics of 90s R 'n' B and 80s stadium rock.
Bursting with energy; the precision, versatility, enthusiasm and onstage chemistry of Nick Wilkinson and Courteney Mayall prove their pedigree under the direction of Kyle Chuen and musical direction of Nick Braae.
Produced by: Tasmanian Theatre Company ,
'One crowded hour of glorious life is worth an age without a name'
-Thomas Osbert Mordaunt
The above quote was the inspiration and philosophy of Australian Neil Davis, one of the world's greatest cine cameramen and journalists from the early 1960s until his death in the mid 1980s. A burst of shrapnel in a Bangkok street ended his remarkable run of crowded hours.
Davis was remarkable and contradictory man, equally at home with Presidents and street beggars. Handsome, a cool professional, intensely competitive, a compulsive gambler who used his intuitive sixth sense to stay alive - a complex and enigmatic man.
He brought images of war on three continents to the world's television screens. He is best remembered for his coverage of the conflicts in Cambodia, Laos and Vietnam and scooped the world with his footage of the taking of Saigon's Presidential Palace in 1975, the symbol of American defeat.
This play is an adaptation of Tim Bowden's biography of this legendary character, One Crowded Hour: Neil Davis, Combat Cameraman.
Written and directed by Terence O’Connell whose national touring productions include Bouncers, The Rocky Horror Show, Decadence, Certified Male, Busting Out, Buddy-The Buddy Holly Story, Barmaids, Circus Oz, Motherhood-The Musical and Flying Fruit Fly Circus. His hugely successful show Minefields And Miniskirts: Australian Women And The Vietnam War toured extensively some years ago to great acclaim and is currently being made into a feature film.
Terence’s current production, Around The World In 80 Days is touring in 2018.
One Crowded Hour is a cracking, colorful story of a charismatic larrikin. It is an intimate show with a cast of four excellent actors and featuring footage shot by Davis in his outstanding career.
Produced by: Stormy Weather productions ,
A play inspired by Nancy Wake aka The White Mouse
War hero, survivor, spy…Nancy Wake doesn’t want another layer of gold paint added to the legend of The White Mouse. But was the price she paid for survival too high? What happened in France in 1944 changed Nancy Wake forever but this time around, no one is messing with her story.
Produced by: Good Times ,
Emily Writes shot to stardom after a rant in the dark on her blog received 1 million hits overnight. People across the world connected to the words every parent thinks at 4am after the third wake-up of the night, but would rarely be brave enough to say out loud. This play is an adaptation of Emily's best-selling book, itself based on her blog. Her story shows the frustrations as well as the tender moments of real parenting, as opposed to what you thought it was going to be like, or what well-meaning advice-givers tell you it should be like. It's a comedy with real heart, for mums and anyone who has a mum.
Produced by: The Conch ,
Building on the successful collaboration of the creative team of the The White Guitar The Conch returns to work with Fa’amoana Luafutu on the development of a new work A Boy Called Piano. A Boy called broke takes a step further on the journey of The White Guitar into the early sixties and Fa’amoana’s experiences in state care. At a time when the human rights commission is petitioning the government for an enquiry into the terrible abuse of children in state care Fa’amoana has chosen to speak out through a historic new play. Building on The Conch’s kaupapa of harnessing the power of theatre as a force for social change A Boy Called Piano takes us directly into the experience of thousands of Maori and Pacific children placed in state care in the 1960’s. This is not a story of private shame but one which impacts on us all since the many thousands who suffered with him have profoundly affected the course of New Zealand history. Many like Fa’amoana that have been demonised in the mainstream began life as innocent children, brutalised within a system that was supposed to be protecting and ‘correcting’ them. Following the story of three boys, one Samoan and two Maori from their first meeting at the children's court through their induction and survival at the Owairaka Boys Home it is a story which is terrifying, intensely moving and inspiring to action. Told through the raw power of physical story telling, live music at the Piana from the breathtaking talent of Mark Vanilau and The Conch's unique brand of visual magic.
Produced by: LimosaniProjekts ,
'With work such as this, one feels one should give a round of applause some 48 hours later.' Broadway World UK
Once upon a time… in a faraway land… it happened… did not happen… could have happened. History is passed on like stories from generation to generation. But what if the stories are not what they seem?
This award winning work is an International collaboration between UK award-winning Bharatanatyam artist Seeta Patel and Australian choreographer Lina Limosani. This work blends techniques from Bharatanatyam, contemporary dance & theatre to create a poetic narrative that has the beauty & disquiet of a Grimm’s fairy-tale. Told through a fairytale, this theatrical work's story unfolds through movement, dance and music with a continuous poetic and evocative narration. With striking imagery, it’s a one-woman show which subversively co-opts whitewashing against itself, with cultural appropriation at its core.
This accessible show blurs the lines between dance and theatre with a story that aligns perfectly with our history of colonialism.
It’s a visual performative metaphor that talks about power and manipulation, stories and culture, BUT most importantly, it's about awareness, about each of our contributions and the roles we play in creating the story we are in today.
Not Today's Yesterday took home the Graham Smith Peace Foundation Award and the Bank SA Best in Dance Award at the 2018 Adelaide Fringe.
Produced by: Trick of the Light ,
Night Night is a play about end-of-life; about the unfinished business of people and things within a finite world. Told through transformative staging, evocative design, and intimate storytelling, it parallels a story of personal loss with global fears for life of our planet.
A researcher travels to Antarctica studying plastic pollution, and seeking isolation as they grieve a loved one’s death. There, in the planet’s last wilderness, they find a vast but delicate ecosystem at risk of breaking down. But plastic isn’t the only thing that’s drifting to the poles... In winter, when the nights are long, the spirits travel south. Only, lately the systems are changing, and ghosts no longer pass on the way that they should. The ghosts of the Antarctic have been building up unchecked...
From Trick of the Light Theatre and The Last Great Hunt comes an environmental ghost story for a planet on thin ice.
Produced by: Sport for Jove Theatre ,
Estragon: We always find something, eh Didi, to give us the impression we exist?
Vladimir: Yes, yes, we're magicians.
Waiting for Godot is considered the masterpiece of existentialism, in which Samuel Beckett explores the futility of man's hope.
In Waiting for Godot, two wandering tramps, Vladimir and Estragon, wait by a lonely tree, to meet up with Godot, an enigmatic figure in a world where time, place and memory are blurred and meaning is where you find it. The tramps hope that Godot will change their lives for the better. Instead, two eccentric travellers arrive, one man on the end of the other's rope. The results are both funny and dangerous in this existential masterpiece.
Damien Ryan directs Peter Carroll in this masterful black comedy guaranteed to excite audiences and school groups alike.
Produced by: Legs On The Wall ,
“When all feels hopeless this show explores how we find that one reason to hang on, with both hands, literally for dear life” Josh Bond, Co-Director
The Man With the Iron Neck is about survival. This work tells the story of an Australian family, of three young talented Aboriginal kids from a small town community, and how two choose to survive when one is lost. Not so much a story about suicide, as it is a story about embracing life – a moving, highly physical rendering told with humour and poignancy, by leading physical theatre makers Legs On The Wall.
When teenager Ash loses his best friend Bear he struggles with the growing emptiness and haunting dreams. Bear’s twin sister Evelyn hides her despair as she carries the burden of planning her own brother’s funeral, while her mother Rose, in shock and sedated, is visited by her lost son and haunted by his revelations. We wrench with Evelyn, Ash and Rose as they struggle to hold it together, travelling with them through their respective grieving, as each search for healing, and ultimately re-find each other.
Seeded by Co-Director Josh Bond’s solo work drawn from his own family story, The Man With The Iron Neck brings together an extraordinary team. Joined by Co-Director Gavin Robins, the two have invited Writer/Actor/Singer Ursula Yovich to write this work, bringing to it her own experiences and a burning desire to tell this story.
This team of some of Australia’s most skilled actors and creatives, taking on awe-inspiring physicality is a stunning combination - to bring to life this evocative, daring and delicate story.
“This story is not just black but white as well. We hope through this telling we can acknowledge that there is serious trouble and that we still have a long way to go - but that there is a real way out of this mess." Ursula Yovich & Josh Bond
Produced by: Legs On The Wall ,
HIGHLY SPRUNG steals your backyard trampoline memories and propels them into an explosive physical outdoor work. Partnering audience childhood reminiscence with the new trends of trampolining and wall running HIGHLY SPRUNG successfully reaches across generations, bringing community members together, across age, language, and culture, to engage with this work.
This show has two key elements:
- the performance
- the public engagement and jumping sessions
With some of Australia’s best physical performers, HIGHLY SPRUNG is a masterful combination of skill and non-verbal storytelling, mixing choreography with breakdance, wall running, free running, contemporary dance, and trampoline gymnastics.
Our risky high impact physicality causes audiences to gasp and squirm, but also delight, always wanting more.
The design from costumes to set, brings the exhilaration of breaking away from the norm – as audiences are confronted with the arrival in their everyday environment, of this vibrant ‘tardis’ and its performers.
Award winning street artist George Rose lures with a set that is part memory, part retro, part dream. Powerful sound engulfs, 1980s and futuristic inspired, created by Australian rock legend Ben Ely from Regurgitator.
Co-Creators Lee-Anne Litton and Joshua Thomson have delivered an outdoor visual feast, vibrant and exuberant, at the end performers flood out to invite the audience in to join the fun. The set is handed over to the audience, allowing kids and adults to jump, laugh, and enjoy - engaging with each other and with their own bodies.
Legs has already experienced success with HIGHLY SPRUNG as a gentle social harmony project. Having drawn large audiences for its world premiere season, we saw many of these audience members from across a broad selection of age, cultural & socio-economic demographics engage in the public jumping element. They came together to enjoy the physicality, not realising how much they would also enjoy the interaction with and engagement of other community members.
This work has been carefully crafted to bring communities together. A perfect vehicle to re-connect fractured communities, build connection for disconnected communities, or as a way to invigorate disused, forgotten, unpopular or new public sites.
To heighten and extend the experience and impact for audiences, Legs has developed a rich program of complimentary activity that makes HIGHLY SPRUNG more than a trampoline performance.
Prior, during, and following the show, performers and invigilators welcome in the audience, creating an atmosphere of inclusiveness and fun.
At the end of every show – everyone and anyone is invited to have a jump. Our trained performers and volunteers become trampoline Invigilators. Gently guarding and guiding, as members of the public kick off their shoes and have a go. This element has been hugely popular, often running for over an hour, with people returning to have a jump.
#igotsprung – Legs works with presenting partners to manage a positive social media campaign that celebrates a diverse range of audience members. This campaign works in conjunction with the public invigilation element, and allows community members to feel celebrated while also spreading the word about the show. This has been successful at increasing audience numbers and attracting audience members to get involved.
Legs' performers and our Artistic Directors are able to conduct workshops to work in symbiosis with the performances. Workshops can be crafted to cater to specific community/ audience groups such as youth at risk, seniors, dance/circus groups, etc.
Produced by: Legs On The Wall ,
About the work
Both renowned for their highly physical and demanding choreography, in which they blend storytelling, character and extreme physicality, Helpmann Award winning team Gavin Webber and Joshua Thomson co-direct The Raft. They draw on their shared physical language and methodology with a hand-picked collective of performers and collaborators.
The Raft is a new physical theatre work by Legs On The Wall that confronts issues head on, posing the question:
Should we help each other or hang on to what we have got for ourselves?
Testing if this self-centred viewpoint is held at a personal level or is something that exits in larger groups and communities, fed by mob mentality, or by a taste of privilege. Joshua and Gavin hope that inherently humans want to do the right thing. Their work - The Raft - places that opportunity into the audience’s hands.
The Raft is an interactive, immersive work taking audiences on a journey that ends far from where it starts. From the moment tickets are collected, the show has begun. The use of allocated seating is the first part of a controlled segregation and manipulation of the public, which shifts and changes throughout the performance. Exploring ways to create a divide between the audience, provocatively changing who are the “haves” and “have nots”.
Unseen until this point, the floor hooked to four large chains. lifts up out of the ground and is elevated above the audience. The creation of a new level, unreachable by some.
This floating platform, “The Raft” will make the audience feel real danger as it swings, rises and falls, expertly manipulated around, above, and below them. Highly skilled performers harnessed and unharnessed push its precariousness to the edge, rendering this floating platform as a powerful metaphor and constant reminder of - what brings us together and also splits us apart.
This work challenges our audience questioning what they stand for and believe in, and asks them to confront what they might actually be.
In the end, the work focuses on the concept of what is justice in the world’s dangerous seas and contracting borders. This timely work from Legs marks a new direction for the company, pushing farther than ever before the award-winning creative partnership between collaborators Joshua Thomson and Gavin Webber.
- Great artists with an international reputation
- Excellent festival show
- The topic has great physical theatre metaphoric potential.
- Medium scale work for touring
“The raft symbolises our want to control, to build great cities and civilisations in a world where the very construction and growth of these civilisations becomes the very thing that causes destruction to other smaller nations. Many of the Pacific islands are in real trouble from rising seas but yet here where land is high we don’t seem to think it’s our issue, as it doesn’t affect us. However, everything is linked, whether we like it or not”
Video Password: Raft18
Produced by: Turid Revfeim ,
A triple billing of 3 new dance works by 3 of New Zealand's leading contemporary ballet choreographers. These will be created on a new project based company, the Ballet Collective Aotearoa, made up of 4 professional ballet dancers leading and mentoring 4 talented and newly graduated New Zealand trained dancers. The works are performed to compositions by a diverse line up of 3 New Zealand composers - John Psathsas, Rhian Sheehan and a newly commissioned work by Claire Cowan.These new dance works will express our unique voice within the ballet canon, that is distinctly New Zealand and clearly influenced by this young, multi-layered country.
Produced by: WDE Productions ,
A musical journey through over a hundred years of songs from ‘light classical delights’ to the standards of ‘the American songbook’ through to the Musical Theatre hits of recent years.
Vov Dylan (Australia’s Andre Rieu) and Glenn Amer (the voice of Mario Lanza and the fingers of Liberace) join forces to take audiences on a musical journey filled with great stories and humour and of course great melodies.
Vov Dylan is a third generation musician that has music flowing from every fibre of his body.
First recognised for his musical talents at 21 months old when he had his first newspaper coverage. Since then he has covered most areas of media and live entertainment including international tours, movies, radio and television broadcasts, and countless live performances for public and private functions.
Vov has released 10 albums now with FANFARE CLASSICS and distributed via Sony Music, and has been nominated in 2016, 2017, 2018 and 2019 as Australian Instrumental Entertainer of The Year (ACE AWARDS)
To top it off, Vov was awarded on 24thJanuary 2014 the title of “WORLDS FASTEST VIOLINIST”by the Australian Book of Records for performing the Flight of The Bumblebee in 38.1 seconds! (A Record that still stands!)
There are many strings to Vov’s bow, but his love of Violin, music and performance shines through in every appearance where applies tried and true traditions of great music, combined with great musicians, combined with fun and laughter.
A unique entertainer, Glenn Amer is the only artist in the history of recordings to have made acoustically recorded cylinders, pianola rolls and compact discs. He was the youngest pianist to ever record pianola rolls, having made his first recordings for the Mastertouch Piano Roll Company when he was 17.
Glenn has been working with singers since his first concert at the age of eleven. He cannot remember how many singers he has played for, but for many years was the exclusive accompanist to Rita Hunter CBE and Horst Hoffmann.Glenn’s first love was opera and he has worked as a pianist and conductor with Opera Queensland, Pacific Opera and Opera Australia.
In addition to everything above, Glenn is musical director for The Seven Sopranos and their debut album for ABC Classics shot to the top of the charts when it was released.
Produced by: Malcolm Rennie ,
Shackleton's Carpenter is a production now available for overseas bookings and currently on tour in the UK. It is a minimalist production requiring a small boat (2m x 1m broken in 4 parts for touring), and some set dressing. It involves 12 lighting cues, 2 sound cues and get in is normally 3pm on day of performance. Set up and focusing takes 2 hours. Get out takes 30 minutes or less.
Production costs per performance are £300 professional fees, van hire £50, overnights if necessary £120, fuel on average £45.
Income per venue is basic £800 guarantee vs 70/30% BO split. 2018 tour grossed £18000 (net £11000) and recent West End 3 week run returned £25500 (87%) on a possible BO income of £29400.
Limited finance available in UK for overseas touring, but any help with production costs in playing NZ or Australia very welcome.