Performing Lines WA

Twyping by James Berlyn Photo: Caitlin Worthington

Performing Lines WA is excited to announce their creative partnership with dynamic West Australian independent dance and theatre artists continues for a further three years until July 2014. They also welcome theatre artist James Berlyn to the core client base alongside Chrissie Parrott Performance Company, Sue Peacock and Sally Richardson.

Performing Lines WA delivers managing and producing services for theatre and dance artists in WA (Maps for Artists), a joint initiative of the Australia Council for the Arts and Western Australia’s Department of Culture and the Arts.

Initially funded as a three year trial, Performing Lines WA has proved itself a critical service provider for the independent performing arts sector in Western Australia. Since 2008 Performing Lines WA has produced eight world premieres, assisted development of 15 projects and delivered four national and one international tour by WA artists. Around $1,000,000 is managed in project funds on behalf of 13 artists.

In its three years of operation over 80 WA independent artists have had access to the financial, producing, touring, fundraising, marketing, mentoring and advisory services provided by Performing Lines WA.

Allanah Lucas, Director General at the Department of Culture and the Arts said, “West Australia’s independent artists greatly enrich the cultural life of this State. Partnering with the Australia Council to renew the Maps for Artists initiative in WA allows us to continue to support a great range of innovative new performances.”

The company is led by national CEO Fenn Gordon with WA based Producers Fiona de Garis and Rachael Whitworth and Communications Manager Sarah Rowbottam. Fenn Gordon said “Clearly the services provided by Performing Lines WA are in great demand by independent theatre and dance artists. In the new triennium we’re looking to build on the work of the past three years with a focus on securing broader touring opportunities for WA work.”

South Perth artist James Berlyn has already benefited from the expertise of Performing Lines WA who produced his one-on-one performance Tawdry Heartburn’s Manic Cures for the 2010 Perth International Arts Festival, and then in 2011 toured it to WOMADelaide and Tasmania’s Ten Days on the Island festival.

Currently presenting Twyping as part of the 2011 AWESOME Festival, Berlyn said “This is a tremendous opportunity for me. I look forward to pursuing international touring opportunities and creating exciting new work in partnership with the expert team at Performing Lines WA.”

In 2012 Berlyn co-curates Proximity, Australia’s first one-one-one micro-festival of art. He performs in Sue Healey’s premiere of Variant and Matthew Lutton’s new production of Elektra presented in the 2012 Perth Festival. He also continues to develop his solo performance Crash Course and new one-on-one performance Sweet Life.

It’s week two in the Shiver rehearsal room at King Street Arts Centre and there have been some exciting developments as the cast welcome Sound Designer Kingsley Reeve and Dramaturg Humphrey Bower to the team. Performer Jacqui Claus gives us an overview of what’s been happening in Studio 3 and how things have changed since the cast last worked together in July earlier this year.

Words: Jacqui Claus, Performer for Shiver Photos: Sarah Rowbottam

Week Two in the Shiver studio has been a productive one with sections coming together and transitions being set. On Tuesday our Dramaturg, Humphrey Bower, began his work with us and he has been a welcome edition to the creative team, we have all taken to applauding when he enters the room. Humphrey has a very clear mind and because he doesn’t have the depth of information of the stories and characters that the rest of us have, he has been a great help in making clear what does and doesn’t come across to an audience member and making subtle changes that simplify the work.

From Wednesday Kingsley Reeve, our composer, joined us and has been making sound for sections as we work on them. For me it has been a new and interesting process to have the composer in the studio and I have been wondering why more choreographers don’t work this way. It allows for a collaborative process that is very satisfying for a dancer as we get to hear the sound refine and evolve as our movement does the same. Kingsley is a very talented composer but also holds theatre and acting skills so he has been a welcome addition to the entire creative process, not to mention the charm and charisma he brings to the studio.

It is hard not to already be excited about the upcoming performances of Shiver when the studio is filled with so many inspiring and creative people, including our wonderfully competent (and award winning might I add) stage manager. The dancers are beginning to play and have fun with the movement and characters and whole sections are being put together. Next to performing, this is my favourite time in the development of a work and therefore, I have found this week immensely satisfying, even considering a slight hiccup I had on Tuesday with a strained adductor.

Shiver
17 – 19 November 2011
The Dolphin Theatre, UWA
Tickets through BOCS

Pictured: Kingsley Reeve

Pictured: Gerard Van Dyck

Pictured: Leanne Mason

Interview with Jacqui Claus

PLWA. Tell me a little it about yourself.
JC. I graduated from the Diploma course at WAAPA in 2005 and have since been working as an independent dancer here in Perth. As well as this I am studying Nutrition at Curtin University. One day when my body gives up on me I guess I’ll move into the nutrition field but at this stage it’s just something that I find engaging and enjoyable to learn about.

PLWA. Briefly tell me a bit about you role and story in Shiver?
JC. My role in Shiver is one of the four dancers/performers. My story delves into the loss of an heirloom/object that ultimately represents a person who played an integral part in my characters life. This week my role has expanded slightly with the introduction of text, of which I am eager to explore.

PLWA. Tell me about the most exciting day in the studio thus far.
JC. For me the most exciting day in the studio was this Wednesday. It was the first day that we had the entire crew and even though I as out of action due to a minor injury the energy in the room was very supportive and productive. We managed to address the main issues and find good solutions to them and I felt a great sense of achievement at the end of the day.

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Since graduating from WAAPA in 2005 Jacqui Claus has performed in both Australia, and overseas. She has worked with a range of artists from UK based Neville Campbell and Densemble Contemporary Dance Company, to French choreographer Annabell Bonnery. For the past 2 years Jacqui has been working with Perth based choreographers such as Danielle Micich, Brooke Leeder, Alice Lee Holland and Chrissie Parrott. Jacqui performed Chrissie Parrott’s “Cyg.net” for the Strut Short Cuts season earning her the title of Most Outstanding Dancer and Dancer to Watch in the 2009 Dance Australia Critics Choice Survey and won Emerging Artist at the 2010 WA Dance Awards.

Welcome to Dreamhouse. Current address 8 Phillimore St Fremantle, and renovations are under way. Please wear your hard-hat when entering the site as bodies are flying through the air.

Words: Ella Hetherington, Pinstripe Circus

For the past 14 days the Pinstripe Dreamhouse mob (Sally Richardson, Ella Hetherington, Ross Vegas, Dawn Pascoe, Nat Kell, Caludia Alessi, Jacob McGrath and Aidyn Blaiss) have been locked away in the heart of the Old Customs House Fremantle, home to the WA Circus School. Each morning the jeans come off, the leggings go on, and before anyw arm up we play ‘adult’ Mechano. For 20mins we lift poles, clip blue and yellow to silver, switch on the brakes, and what emerges each morning is our Dreamhouse.

Then the team hit the matts, stretching, comparing bruises, musing on why the left buttock is sore but not the right…a brief gossip, and then the group warm up. We have rolled into the floor with no arms then no legs, we have pulled each others arms and worked each others shoulders, hips and hammies, we have walked in time (and out of time), we have rolled each other in blankets, Oh yes, and tumbled. Then we go home, to our ‘Dreamhouse’ home.

Week one…Performers play, acquaint themselves with the new cast member and new apparatus; A 7m high, by 8m wide goddess, brimming with possibility and hope for the future. Like any new relationship we all threw ourselves at her with gusto and passion… we climbed to new heights, we played games, laughed, jumped into oblivion, flirted, sang badly, got drunk and threw ourselves off the edge. It wasn’t always smooth sailing, she bites and she bruises. She is not an easy ride. But we are in love.

The first weekend rolls in, it’s a Saturday afternoon and we all reconvene. It’s not a normal day. We are letting our new love run free for the afternoon, or be freely ran upon. 20 Parcorers moved in, on and around. Stealthily, cat like, sexy, dangerous, and free. The team watched in awe. Taking notes, taking photos and videos assuming that if we watch them intensely enough maybe we will become like them! We are moved beyond jealousy they are the perfect fit! They are made for each other. But we are still in with a chance!

Week two…Our physical approach has changed. We have seen new ways of working her that we hadn’t previously. The bruises have faded and we are all feeling strong and ready for round 2. We may not be as stealthy, and as quiet and sure footed, but we are working on it! The week sees scenes forming, set ideas changing and morphing, the emergency room at Freo hospital (all is fine!), window play, harness work, climbing, sandpit dreaming, lots of climbing and CHOGM…mmm yes. Ella and Ross were relying on cloning to have been fully developed by this point, but to no avail. Someone had to go and entertain the children of CHOGM! Massive week but time apart, even though it were brief, made the heart grow stronger…

With a strong commitment to not stressing out about the showing (what showing?) in a week we continue to play, discover and fall for, not off, our beauteous beast.

PS The Queen of the Commonwealth may have left, but the Queen of ‘new’ circus arrives tomorrow…Please welcome Anni Davey into the madhouse of DREAMHOUSE!

Ella Hetherington
Performer, Pinstripe Circus

Click here for more information on Dreamhouse

A hot air balloon disaster, a violent storm, and a camel – Perth is about to be hit with a new Western Australian opera that is full of the unexpected.

This Saturday marks the opening of Into the Shimmer Heat, an opera which started as an experiment in 1995 between the Nova Ensemble and Spare Parts Puppet Theatre. Directed and written by Phil Thomson, the show features Perth-born dancer Sofie Burgoyne as the lead character. Performing Lines WA recently caught up with Sofie to discuss this epic new work.

Words: Sarah Rowbottam (PLWA) and Sofie Burgoyne (SB)

PLWA. First up, briefly tell me about yourself.

SB. I was born in Perth but now live more or less nomadically depending on what project I’m working on. I like earl grey tea, bicycles and backpacks.

PLWA. Earlier this year you were cast in a major role for Into the Shimmer Heat. Tell me about your character.

SB. Nina is a 16 year old who looses both of her parents. She’s a brat, digs music and doesn’t talk.. much.

It’s a week before the premiere at the new State Theatre Centre of WA so I imagine you must be rehearsing pretty hard. Take us through one of your favourite rehearsal days.

SB. Tuesdays are always good because my mum makes muffins for the ITSH cast. My favorite days though are when we do act 3. I’m not in act 3 so instead I sit in the conductor’s seat and giggle nervously with the band. They teach me how to play their instruments and I share my snacks that I buy from Kakulas Sisters.

PLWA. I hear you have to sing a few lines at the end of the show. How have you been preparing for this?

SB. I have a formal singing lesson nearly every day with teacher, Roma Conway. I usually beg Mel Robinson to sing with me during rehearsals. I’ve downloaded an i-phone app that I pretend to practice pitching from whenever I’m by myself and I’ve replaced milky chais with strepsils.

I’m still not very good.

PLWA. Working as a dancer at such an elite level must be incredibly strenuous both mentally and physically. What are some of the techniques and practices that you use to help maintain your abilities?

SB. I think it depends on what show I’m working on – whatever it may need I work into a training schedule. At the moment I try to get to a dance class each morning before rehearsals. If this isn’t possible I wake up early and go to yoga. If I’m feeling sore or stressed I tend to do both. I’ll also do a singing lesson prior to rehearsals and over breakfast go through scenes that we may have made changes to in the previous days. I’ve felt a bit behind in the opera as the singers learnt most of their lines prior to rehearsals commencing. Prior to starting I didn’t know the libretto or the music, yet alone what dancing I was going to be doing. Consequently it’s been really important for me to work fast in this rehearsal process and be diligent about notating the singer’s lines and the way the music rolls in order to know them as well as everyone else.

PLWA. Before you go on stage, what is your pre-show ritual?

SB. I’m not sure I have one. Generally I buy a banana but I don’t necessarily eat it. I’m not much of a pre-show talker so I’ll most likely have my ear phones in and I’ve never really been able to shake the habit of finding a gap in the house curtain just before we’re about to start and peering through.

PLWA. In addition to dancing, you are also starting to choreograph your own work. Tell me about the project you are working on with Sydney collective Dirty Feet – The Following.

SB. I’m not yet starting to choreograph my own work, however, I have set up a few opportunities in the next six months that are going to allow me to invest some time into choreographic practice. I’ve been working as a dancer consistently fulfilling others visions for five years now and overtime have developed a little itch to begin following my own. I’m currently undertaking a dance-making mentorship with solo artist Martin del Amo (courtesy of DCA). The project with DirtyFeet is in some way a continuation of this – giving me an opportunity to work with a group of dancers and experiment with process. The residency with DirtyFeet is a unique experience as its focus is on fostering choreographic interest as opposed to producing it. So, DirtyFeet give me three weeks free space in Redfern, five professional dancers and a mentor of my choice, Lee Wilson (Branch Nebula). I start November 3 and I’m terrified.

PLWA. As you know, we are producing Danielle Micich’s (choreographer for Into the Shimmer Heat) new work Shiver. I recently learned you were in the 2008 first stage development for Shiver, way back when it was called Homebase. What’s it like working with Dank again on Into the Shimmer Heat?

SB. When I worked with Dank on Shiver it was my first professional gig after I graduated from WAAPA so I can’t really remember much (other than trying not to giggle nervously at the older cast members). I think both Dank and I started ITSH not really knowing how we were going to weave dance into the opera. Luckily Dank has had a wonderful sense of openness to consistently try again and experiment with what my character might do. Dank is humble and has a unique balance of knowingness and curiosity that is testament to her choreographic practice continually growing and changing. I’ve particularly enjoyed that when it’s tea break Dank and I can forget the work momentarily and talk about our lives. She is my leader when we’re working and my friend when we’re not… A blend of characteristics that, at times, seems rare in our industry.

PLWA. What advice would you give to young aspiring dancers looking to develop their craft?

SB. Follow what you’re interested in. There can be a psychology amongst young dancers to do anything and everything. Life is too short (and especially dancer’s careers) to waste time on projects that don’t blow your socks off.

PLWA. What’s the most exciting thing that has happened to you in your career?

SB. DCA funded my travel to London last year to hang out with choreographer Hofesh Shechter and his company. I’ve never met a group of artists so committed to their craft and vision. It reminded me that great dance comes from great artists, willing to see the same vision and do anything to create it.

Performing Lines WA Producer Rachael Whitworth talks about the final creative development for  Shiver. Over the past five weeks Rachael has been working with Danielle Micich and the performers at CIA Studios and Midland Junction Arts Centre.

Words: Rachael Whitworth Photos: Sarah Rowbottam

Danielle Micich (Dank) has just completed her final creative development for Shiver before she goes in to rehearsals for production later this year.  She worked with the dancers full-time for 2 weeks at Midland Junction Arts Centre, developing the many ideas and choreographic material that was generated in a part-time development at CIA studios a few weeks before.

At last, the full cast was together with Gerard Van Dyck joining the ensemble from Melbourne.  The vibe in the studio was fantastic, everyone seemed to be having a great time and the work was focused.  For the first week, Dank seemed to use the morning rehearsals to generate new material using many different mechanisms or inspirations as a point of departure.  Sometimes this worked really well and the dancers latched on to the ideas and evolved them to create solo or duo material.   Other times, they did not quite understand the concept and wafted around the space, looking unsure and lost.  This was an interesting dilemma for Dank who mostly had a clear picture of what she wanted in her head – but it didn’t quite translate.  As in any creative process, this is the constant challenge for a director- finding new pathways to access different ideas and inspire the performer to create something new, or even something simple that speaks as part of a larger picture. However, Dank managed to find new access points that guided the artists to achieve what she was looking for after a bit of a break and some new inspiration.

I was amazed at how fast the work developed from the first week to the second.  By mid-way through the second week, the work was looking polished and so much clearer in intention and narrative.  Most dance sections were choreographed which allowed Dank to determine whether the structure of the piece as a whole was working or ‘saying’ what she wanted it to.

On the final day, we had 2 different types of showings.  One was an open rehearsal for people to observe how a dance work is made.  A number of attendees from Midland came to the rehearsal and said they felt privileged to see behind the scenes.  They noted that it would make their appreciation of the final performance so much greater as they had an insight into the work it took to create such a work.  This open showing worked really well and is food for thought for further projects.

In the afternoon, three regional presenters came to a showing to provide feedback about the work as a whole.  It has always been Dank’s intention to create Shiver to be accessible to a wide audience who may not necessarily be avid contemporary dance goers.  With this aim, she and Performing Lines WA are keen for the work to tour regionally and be attractive to these audiences.

The dancers were quite nervous during the showing and Dank and I were surprised that some sections had really sped up.  However, the work looked great and seemed to translate well.  The feedback session with the presenters was amazingly valuable.  Generally, they were all very positive about the work although all seemed to lose interest during a couple of sections.  This was great as it was very clear which sections weren’t quite working.  We discussed how to market the work and it’s rather challenging and potentially depressing content and how to engage audiences with interactive marketing techniques to build interest in the performance well ahead of time.

I think this was a unique opportunity for an artist to receive really useful and constructive feedback from presenters who understand their market and what they can actually sell.   On top of this, it was at a time in the creative process where there is still opportunity to make changes and refine the work in an effort to make the production the best it can really be.  I’m looking forward to the next 3 week rehearsal leading in to the production of Shiver in November this year as this is when we will see where Dank can really extend Shiver.

Rachael Whitworth, Producer Performing Lines WA

SHIVER will premiere at The Dolphin Theatre, UWA on 17th of November 2011.

Choreographer: Danielle Micich Sound Designer: Kingsley Reeve Performers: Gerard Van Dyck, Jacqui Claus, Leanne Mason, Lewis Kilpatrick Design Consultants: Lawrie Cullen-Tait, Lin Kilpatrick Lighting: Joseph Mercurio Dramaturg: Humphrey Bower. Produced by Performing Lines WA.

To find out more about SHIVER click here.

The Final Stage Development of SHIVER has been supported by: