The Hamlet Apocalypse
presented by The Danger Ensemble and Theatre Works
Nov 7 - 18, 2018
Chris Beckey - self / ghost / guildenstern
Katrina Cornwell - self / gertrude
Nicole Harvey - self / ophelia
Thomas Hutchins - self / claudius
Polly Sará - self / polonius / osric
Peta Ward - self / laertes / rosencrantz
Mitch Wood - self / hamlet
Steven Mitchell Wright - Director / Designer
Ben Hughes - Lighting Designer
Dane Alexander - Composer and Sound Designer
Oscar Clark - Co-costume Designer
Jack Hutchison - Stage Management
Eleanor Howlett (Sassy Red PR) - Publicity
Jennifer Bismire - Wardrobe Assistant / Costume Alterations
Aaron Cananzi - Technical Crew
Anthony Torounoglou - Technical Crew
Morgan Roberts - Photography
Sean Dowling - Graphic Design
ALL BIOGRAPHIES BELOW
From the company..
In 2009 we began developing The Hamlet Apocalypse at The Factory Theatre in Boston, while we were on a break from our international tour with Amanda Palmer. For close to a decade following, we were based in Brisbane and created and presented a slew of new works but kept returning to this one. In many ways it has become our flagship work - it encapsulates so much of our philosophy and aesthetic while being filled with so much history from all the amazing actors, creatives and crew that have worked on it before.
So the choice to present The Hamlet Apocalypse as our first work as a now Melbourne based company was a very conscious one and our partnering with Theatre Works, as Australia's leaders in contemporary and experimental theatre, equally so.
We can only hope that The Hamlet Apocalypse marks the beginning of an exciting, rigorous and risk-filled relationship with Melbourne audiences.
Special thanks to all the staff at Theatre Works, Dianne Toulson, Bryce Ives, Dawn Holland and Adam Gardner. To our previous venues and supporters Power Arts, The Factory Theatre Boston, La Mama, La Boite Theatre Company, and the Judith Wright Centre of Contemporary Arts. Katherine Quigley. Bri Zammit, Eloise Grace, Maddy Prebble, Tamika McDonald, Tash O’Brien, Paris Williment, Jaya Crothers, Kiana Larkin, Moogie, Maaike Johnson, Simon Tate, David Berthold, Lewis Jones, Liz Jones, Pippa Bainbridge, Brunswick Mechanics Institute, St Martins Youth Theatre and Lucy Lockett.
A special shout out to all the artists that have worked on this show leading to now - you are still on this stage with us. Ian Michaels, Chelsea Brannon, Tora Hylands, Dave Sleswick, Noa Rotem, Robbie O’Brien, Mark Hill, Lloyd Allison-Young, Carly Rees, and Caroline Dunphy.
Chris Beckey has worked as an actor, director, writer, dramaturg and facilitator throughout Australia. Chris is one of the Associate Artistic Directors of The Danger Ensemble, having first collaborated with Steven Mitchell Wright in 2003. For The Danger Ensemble, they have appeared as a performer in: We Will Not Kiss Touch Frighten You In The Dark (2017), The Hamlet Apocalypse (Judith Wright Centre of Contemporary Arts, 2017), Macbeth (2017), Caligula (Judith Wright Centre of Contemporary Arts, 2014), The Wizard of Oz (co-production with La Boite and Brisbane Festival, 2013), i war (Creative Development, QTC Greenhouse and Brisbane Festival 2012), and Loco Maricon Amor (Metro Independents, 2012). They also worked as the Associate Director and as one of the Assistant Stage Managers on Sons of Sin (Judith Wright Centre of Contemporary Arts, 2013), wrote the text for Children of War (La Boite Indie, 2012), and worked as dramaturg on The Hamlet Apocalypse (La Boite Indie, 2011; Adelaide Fringe, 2010; Melbourne Fringe, 2009).
Chris has worked with a number of theatre companies in Australia, including Queensland Theatre, La Boite Theatre, Playbox (now The Malthouse), Fractal Theatre, Zen Zen Zo Physical Theatre and Merrigong Theatre Company. Since arriving in Melbourne in January 2018, Chris has appeared in La Mama’s The Bachelor S17 E05. Chris was a founding member of Zen Zen Zo Physical Theatre and was nominated for a Matilda Award for Best Male Actor in a Supporting Role for the role of Krogstad in La Boite’s 2014 production of A Doll’s House, directed by Steven Mitchell Wright. Chris has trained in the Suzuki Method of Actor Training, Viewpoints, Butoh and various approaches to acting, voice, and text.
Chris has a long history as a workshop facilitator. They regularly tutor for various theatre companies and youth arts programs, have taught at Queensland University of Technology, University of Queensland and University of Southern Queensland, and worked as the Workshop Program Manager for Backbone Youth Arts from 2015 to 2017. Chris has directed a number of works including Disco Inferno (Backbone Performance Ensemble, Festival of Australian Student Theatre, 2017), Mind-Craft-Drama-Mod (co-directed with Katherine Quigley, Backbone Youth Arts and Festival of Australian Student Theatre, 2016), Parental Guidance Recommended (Backbone Youth Arts, 2high Festival, 2016), Your Love is Killing Me (Zen Zen Zo and Redcliffe State High School, 2016), Of Mirrors and Angels (Vena Cava Productions and FAST Festival, 2015), The Death of Albatross (Moonburn Productions and Sydney Fringe Festival, 2011), Ghost Paths (with Lynne Bradley, University of Queensland, 1997), and The Maids (Queensland University of Technology, 1997).
Chris has written a number of plays, including songs (La Boite NewBoards Festival, 2000), The Oracle (Brisbane Powerhouse, 2005) and Fury (Zen Zen Zo/Merrigong Theatre Company, Ruff: Works in Progress, 2009). Their 2010 collaboration with Steven Mitchell Wright and Queensland Academy for Creative Industries, In God We Trust, won the inaugural Groundling Award for Best New Play. In 2017, they wrote, directed, performed, and produced Their Name Liveth For Evermore for Backbone and Brisbane City Council. This walking performance tour commemorated the lives of members of the armed services buried in Brisbane’s Toowong Cemetery. After a sold out season in 2017, Brisbane City Council recommissioned the work for a new season in 2018.
Katrina Cornwell is a theatre director, actor and performance maker with a passion for challenging the theatre form. She has a Bachelor of Creative Industries from QUT, a Graduate Diploma in Arts and Community Practice from the Victorian College of Arts. She has trained and performed extensively in the style of physical/visual theatre, collaborating and touring with companies such as Zen Zen Zo Physical Theatre, The Danger Ensemble, Red Moon Rising and Motherboard Productions. She has worked throughout Australia (Brisbane, regional Queensland, Melbourne and Adelaide) and has toured internationally (Europe, America, Korea and Hong Kong.) In 2018, Katrina directed Lovely Mess for Melbourne Fringe and FOLA, directed The Bachelor S17E5 for La Mama and was the Artistic Associate on The Rabble & St Martins’ co-production of Lone at Artshouse. In 2017 she performed in the Motherboard Production of Virgins and Cowboys at Griffin Theatre, Sydney. In 2016, she directed F. for Riot Stage/Poppyseed Festival, which was featured on ABC’s 7.30 Report. Previous directing credits include: Death Match (Malthouse Tower/Monash, 2017), My Name is Rachel Corrie (Loreto College, 2017), Love and Information (Loreto College, 2016), Forever City (La Mama, 2016 & 2015), Turn Off the TV, Set the Table for Dinner (Anywhere Theatre Festival, 2014), So Much Yes (Mackay Festival of Arts, 2013), The Chorus (Mackay Festival of Arts, 2013), Prometheus Days (Mackay Festival of Arts, 2011) and After 3 (Anywhere Theatre Festival, 2011).
Nicole Harvey works as a performer and performance maker, and is currently based in Melbourne. She completed a Bachelor of Performing Arts with a major in Performance Making from the Western Australian Academy of Performing Arts (WAAPA). This is Nicole’s forth show with The Danger Ensemble, previously appearing in: The Hamlet Apocalypse (Ophelia, The Judith Wright Centre of Contemporary Arts, 2017), in MACBETH (Witch, 2017) and in We Will Not… (2017). Other past work includes: advising movement for Court My Crotch (FUGUE, The Blue Room, 2018), performing in Hanako (Belloo Creative, Brisbane Festival, 2016), Exquisite (Frances Barbe, Metro Arts Deathfest, 2016), co-devising and performing in TOUGH (TILT, Blue Room Theatre, 2015) and movement direction for several WAAPA productions including Fallen (2014) and The Bacchae (2013).
Nicole a strong background in the Suzuki Method of Actor Training and other physical theatre methods and has trained with several practitioners, including Frances Barbe, Steven Mitchell Wright and OzFrank Theatre Company. She has a particular interest in highly visual and physical theatre and completed her exegesis in 2015, which sought to investigate how Tatsumi Hijikata’s butoh fu can be used in the service of an Act Without Words in the style of Ōta Shōgo. In particular her performance lead research focuses on how these practitioners’ styles and methods can be used in the creative process to the generate movement material, and as a tool for the performer to connect inner world with a set psychophysical score.
Thomas Hutchins is an actor and director who studied acting at Southbank Institute of Technology, Brisbane. Since graduating in 2012, Thomas has created contemporary theatre works including: Dust Covered Butterfly (Metro Arts, 2015; FAST, 2013), Leftovers from a Dream (FAST, 2012 and 2high Festival, 2012) and Play Dead (2high Festival, 2013). Thomas is a frequent collaborator with The Danger Ensemble performing in: The Hamlet Apocalypse (2017), Macbeth (2017), The Wizard of Oz (La Boite Theatre Company, 2013), Sons of Sin (2012), and Loco Maricon Amor (Metro Arts, 2012).
Polly Sará is an actor, teacher, devisor and a graduate of QUT, Phoenix Institute and Victoria University. She co-founded Melbourne-based butoh company Red Moon Rising and performed in their Greenroom nominated work, The Oak’s Bride.
She has performed with The Danger Ensemble, La Boite Theatre Company, Lingua Franca, Dairakudakan and Zen Zen Zo Physical Theatre, and trained in Butoh, Leqoc, Viewpoints and Suzuki techniques with a range of Australian and international artists including Ellen Lauren, Yoshito Ohno, Barney O'Hanlon, Semimaru , Steph Kehoe and Anne O’Keeffe. Performance credits for Danger Ensemble include: The Hamlet Apocalypse (2017), Loco Maricon Amor (2012), and The Wizard Of Oz (2013).
Presently, Polly manages True North and is passionate in exploring the intersectionality between theatre spaces and hospitality. She is invested in supporting spaces that value creativity, inclusivity, kindness and passion whilst maintaining a high standard in creating exceptional experiences.
Polly is excited about bringing Hamlet back to Melbourne.
Peta Ward has worked in a few different jobs over the years, including: theatre performer and teacher, counsellor and community worker. This has meant that she has been lucky enough to have rich and diverse opportunities to connect with members of her community.
She graduated from QUT (BA Drama) and trained extensively in the field of physical theatre. Peta has trained with international artists and companies including: Anne Bogart and the SITI Company (New York), the Theatre Training Initiative (London), Fran Barbe (London, Brisbane) and Ichiro Nakayama (London). In Australia, Peta has trained with artists including: Yurabe Masami, Ellen Lauren, Yumiko Yoshioka, Steph Kehoe, Andrea Moor and Dairakudakan.
Performance credits include: For The Danger Ensemble: Macbeth (2017), Loco Maricon Amor (2012), The Hamlet Apocalypse (Melbourne 2009, Adelaide 2010, Brisbane 2011/2017), and the Who Killed Amanda Palmer? tour (Edinburgh, Melbourne, Sydney, Brisbane 2007). For Little Dove Theatre Art: Evangeline (Canberra 2015), Cordelia (Canberra 2011) and Six Women Standing In Front of a White Wall (Brisbane 2006, Edinburgh 2007, Melbourne 2009). For Metro Arts Independents: A Catch of the Breath (2010). For deBase Productions: Snagged (2009). For Zen Zen Zo Physical Theatre: Dracula (2007), Sub Con Warrior 1 (2006), and those with Lucifer (2005). Peta has also performed at festivals and events including: the Woodford Folk Festival, the Canberra Fringe Festival, the World Shakespeare Congress and the Out of the Box Festival.
Peta has also completed a Graduate Diploma in Counselling (ACAP) and a Masters of Narrative Therapy and Community Work (University of Melbourne and The Dulwich Centre). She currently works as a counsellor for the Victims Counselling and Support Service, a program of Relationships Australia QLD.
Mitch Wood is a stage, screen and voice actor and a graduate of USQ’s acting program. His stage credits include: We Will Not Kiss Touch Frighten You in the Dark (Self – The Danger Ensemble, 2017), Romeo & Juliet (Romeo - OzPlays, & Share House Theatre Company, 2017), Plunge (Tom – Seeing Place Productions, 2017), Breaker Morant (Lt. George Witton - Empire Theatre, 2016), Tartuffe (Valère – Artsworx, 2016). He has performed in numerous short films, including: Painkiller (Rob - Griffith Film School, 2016), Filtered (Finn – Griffith Film School, 2016), and Divided (Ben - Small House Productions, 2017), as well as recurring uncredited appearances in: Hoges: The Paul Hogan Story (Nine Network, 2017), The Family Law (SBS, 2017), and Mako Mermaids: Island of Secrets (Network Ten, 2016). His voice work includes a full audiobook narration of Above The Fold by Peter Yeldham (Narrator - For Pity Sake Publishing, 2015). In 2017, Mitch won the Best Actor award at the Ouchy Film Festival in Switzerland for his role in Painkiller. He currently performs full-time as part of Shake & Stir Theatre Company’s in-school touring program.
CREATIVE AND CREW BIOGRAPHIES
Steven Mitchell Wright is the Artistic Director of The Danger Ensemble, for which he has directed CALIGULA (JudithWrightCentre of Contemporary Arts), The Wizard of Oz (La Boite and Brisbane Festival 2013), Sons of Sin (Judith Wright Centre of Contemporary Arts), Loco Maricon Amor (Metro Arts, 2012), Children of War (La Boite Indie 2012), i war (Queensland Theatre Company and Brisbane Festival 2012), Pennies and Beggars in the Street (Brisbane Cabaret Festival/Inhabit Fiesta 2010), Who Killed Amanda Palmer: World Tour (USA, UK, Ireland, Scotland, Germany, Switzerland, Italy, France, The Netherlands, Belgium, Austria, Spain, Canada and Australia 2008/09), EdgeFest (Boston Pops Orchestra, Boston Symphony Hall, USA 2008), The Establishment (Rothbury Music Festival, USA 2008), In Your Shoes (large scale public promenade work, Brisbane 2007) and The Magic Tent Tour (Edinburgh Fringe Fest 2007).
Steven’s freelance work includes directing La Boite and Brisbane Festival's A Doll's House (2014, Winner Best Direction Matilda Award and Gold Matilda Award), the artistic direction and curation of avantgarde performance event Cross Stitch:Without Apology (!Metro Arts, Brisbane 2011), movement direction and chorus direction Kander and Ebb’s Cabaret (American Repertory Theater 2010), direction of immersive dinner theatre experiment Once in Hell (American Repertory Theater 2010), curator of experimental performance space at Arcade Lane (winner of best new venue Adelaide Fringe 2010), directing In God We Trust (Groundling Award Winner Best Direction, Queensland Academy for Creative Industries 2010) and was one of six writers for Sex:Cubed (La Boite Theatre 2006).
As a teacher Steven has taught on going training in the Suzuki Method of Actor Training and Butoh Dance Theatre. He has taught intensive training workshops in Melbourne, Sydney, Brisbane, Hong Kong, Boston and London. He has also taught for The American Repertory Theater, Harvard University (US), Moscow Arts Theatre, Queensland University of Technology and Griffith University in the areas of Acting, Movement, Somatic Actor Training Systems, Post Modern Characterisation, Physical Theatre and Devising Theatre.
Ben Hughes’ lighting design practice spans theatre, dance and opera; he is also Associate Artistic Director of The Danger Ensemble. As Lighting Designer Ben’s work has been seen on stages throughout Australia, and internationally in the UK, US, China & New Zealand. For The Danger Ensemble credits include: Macbeth, Caligula, Sons of Sin, The Wizard of Oz (co-production with La Boite and Brisbane Festival), Loco Maricon Amor, Children of War. Other credits include productions with: Queensland Theatre, Sydney Theatre Company, Melbourne Theatre Company, Malthouse Theatre, Opera Queensland, Belvoir, La Boite Theatre Company, Queensland Ballet, Sydney Festival, Brisbane Festival, Expressions Dance Company, The Danger Ensemble, HotHouse Theatre, The Nest Ensemble, JUTE Theatre, Stella Electrika, Queensland Performing Arts Centre, Queensland University of Technology, Phluxus2 Dance Collective, Collusion, Company2, Brisbane Writers Festival, Gold Coast Arts Centre, Woodford Folk Festival and Kooemba Jdarra. As Associate Lighting Designer his work includes productions with Meryl Tankard and Barrie Kosky. In 2013 Ben was invited to be Resident Lighting Designer with Queensland Theatre, and in 2014 and 2011 was an Affiliate Artist with the company. Ben lectures in Lighting Design at Queensland University of Technology, is a Professional Member of the Association of Lighting Designers, and holds accredited membership of the Australian Production Design Guild.
Dane Alexander is a Brisbane-based composer/sound designer. Selected credits include: What I’m Here For (Elbow Room, Flowstate, 2018), I Just Came To Ask You (The Good Room, Brisbane Festival, La Boîte, 2018), Rovers (Belloo Creative, Critical Stages, Brisbane Festival, 2018), Rhinoceros (BGGS, 2018), Tristan (Little Dove Theatre Art, Ralph Wilson Theatre, Canberra, 2017), I Just Came To Say Goodbye (The Good Room, Brisbane Festival, 2017), The Hamlet Apocalypse (The Danger Ensemble, JWCCA, 2017), Rohallah (Little Dove Theatre Art, Canberra Theatre, 2017), Spontaneous Human Combustion (BGGS, 2017), Macbeth (The Danger Ensemble, QACI, 2017), The Moth and The Moon (Goat Track Theatre, 2016), Hanako (Belloo Creative, Brisbane Powerhouse, Brisbane Festival, 2016), True West (Thomas Larkin presents, TAM, Brisbane Powerhouse, 2016), Motherland (Belloo Creative, Queensland Theatre, Critical Stages, 2016), <Shimchong>: Daughter Overboard! (Motherboard Productions, Brisbane Powerhouse, 2016), Evangeline (Little Dove Theatre Art, Canberra Theatre, 2015), Deluge (Motherboard Productions, Seoul Foundation for Arts and Culture, Namsan Dream Theatre, 2015), Robotronica: DeepBlue and The Perfbots (DeepBlue Orchestra, QUT, Robotronica, 2015), Or Forever Hold Your Peace (Motherboard Productions, La Boîte Indie, 2014), Deluge (Motherboard Productions, Seoul International Dance Festival, 2014), A Doll’s House (Brisbane Festival, La Boite Theatre Company, 2014), Sex With Strangers (Thomas Larkin presents, TAM, Brisbane Powerhouse, 2014), Lesser Gods (Metro Arts, Next Wave Festival, Human Rights Arts and Film Festival, 2014), Motherland (Metro Arts, Belloo Creative, 2013), The Wizard of Oz (La Boite Theatre Company, The Danger Ensemble, Brisbane Festival, 2013). Industry awards include Groundlings, Del Arte Charts, and an APACA Drover Award for Excellent Audience Response (with DeepBlue Orchestra). Dane was nominated for a Matilda Award for Best Sound Design in 2016 and 2017. He loves his family, Star Wars, classic rock, and tending to his garden.
Oscar Clark is a Brisbane based designer that likes to challenge themselves and strive for the impossible. Oscar graduated from Queensland University of Technology (QUT) with a Bachelor of Fine Arts (Fashion)/Bachelor of Business (Management) in 2015 and has since travelled across the world interning with global design icons: Gareth Pugh (2016) and Georgia Hardinge (2016). Since returning to Australia Oscar has worked as a maker for: The Queensland Theatre, Opera Queensland, La Boite, and as a Studio Technician with the QUT fashion students. Most recently Oscar worked as designer and maker on Rovers (Belloo Creative, Theater Republic Brisbane Festival 2018).
Jack Hutchison is an aspiring young actor based in Queensland who has recently left high school and passionate about experimental and confrontational theatre. He performed with The Danger Ensemble in 2017 in Macbeth playing Kind Duncan. Jack has created devised works including: When a Butterfly Dies (2018) and A Boy and A Monster (FAST, 2017). His previous acting credits include: Constellations (Queensland Theatre Company Youth Ensemble, 2017), Girls Like That (Queensland Academy of Creative Industries, 2016) and Kokoro, a Butoh performance at Queensland Academy of Creative Industries devised with Mark Hill and Simon Tate in 2018.
Eleanor Howlett is the owner and director of Sassy Red PR; a Melbourne-based publicity and marketing business that was created with a strong focus on working with independent artists and companies, not for profit, and other small to medium arts organisations. She has worked in the industry for over 20 years as a professional actor, producer, publicist, committee member and in numerous other roles associated with the field. She’s been a part of the industry in Brisbane, Perth and Melbourne and has experience gleaned from organising major fundraising events, right through to producing and working for numerous theatre companies in a variety of roles.
Since its launch, Sassy Red PR has worked with hundreds of companies and shows, and thousands of artists, offering creative and cost effective PR and marketing solutions.