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Culture magazine, Issue 7, Jul-Sep 2016, The Arts Centre Gold Coast

Aug 01, 2016



Culture magazine, Issue 7, Jul-Sep 2016, The Arts Centre Gold Coast

  • C U L T U R E


    The Arts Centre Gold Coast | Gold Coast City Gallery | Evandale Parkland FREE

    CIRCA The art of acrobatics

    OPERA QUEENSLANDSThe Barber of Seville

    S Y D N E Y D A N C E C O M PA N Y R E T U R N S

  • Issue Seven: July September, 2016



    Kerry Watson

    Deputy Chair

    Richard Munro


    Dr Patrick Corrigan AM

    Cr Bob La Castra

    Tomas Johnsson

    Christine Lohman

    Dr Patrick Mitchell

    Steve Romer

    Executive Staff

    Destry Puia General Manager

    Anna Carroll Director Cultural Precinct Project

    Tracy Cooper-Lavery Gallery Director

    Pietro Delpechitra Director Commercial Operations

    Brad Rush Programming Director

    Lindsay Wallace Director Marketing and


    Lynda White Director Corporate Services


    Michelle Macwhirter Marketing Coordinator / Culture Editor

    Katie Loveday Marketing Supervisor

    Chris Bouffler Graphic Designer


    Virginia Rigney, Sarah Worrall, Emma Collerton,

    Anastasia Scott-Myles, Rob Loudon, Amber Patch


    Angela Sunde


    PO Box 6615, GCMC QLD 9726

    (07) 5588 4000

    Editorial contributions or comments can be sent to

    [email protected]

    Culture is published by The Arts Centre Gold Coast.

    The publication of editorial does not necessarily

    constitute endorsement of views or opinions expressed.

    The publisher does not accept responsibility for

    statements made by advertisers.

    Acknowledgement of Country

    We acknowledge and pay respects to the traditional

    Aboriginal people of the Gold Coast and their

    descendants. We also acknowledge the many

    Aboriginal people from other regions as well as Torres

    Strait and South Sea Islander people who now live in

    the local area and have made an important contribution

    to the community.

    The information in this magazine is correct at the time of

    printing (May 2016). Cover Image: Sydney Dance Company 2016

    featuring dancer Bernhard Knauer. Photo by Irenaeus Herok.

    In this issue we hear from OperaQueenslands Head of Wardrobe,

    Karen Cochet, about creating dozensof stunning costumes for The Barber

    of Seville (p.6). Circas Artistic Director,Yaron Lifschitz, talks about the

    upcoming Il Ritorno (p.5) and SydneyDance Company returns to our stage

    with the stunning Countermove (p.12) - an absolute must-see for dance lovers.

    Children can enjoy The Moons aBalloon (p.24) and The Peasant Prince

    (p.22) these school holidays, and will betreated to the gorgeous Snugglepot &

    Cuddlepie (p.27) later in July.

    Gold Coast City Gallery brings us theever-popular Josephine Ulrick and Win

    Schubert Photography Award (p.33)and reports on the Stradbroke Island

    Indigenous Artist Camp (p.35).

    See you at the show.Destry Puia - General Manager

    STAGE THEATRE05 The art of acrobatics06 Fit for the opera07 The story of Patsy Cline08 Staging a classic09 Viral

    STAGE DANCE12 Imperial Russian Ballet13 Sydney Dance Company returns

    STAGE MUSIC14 Indigenous song15 Voices from Soweto16 Miss Mandy Swings18 Fiesta de la Musica

    STAGE COMEDY21 Comedy in The Basement

    KIDS & TEENS22 Dream of a dancer24 Is the moon a balloon?27 A May Gibbs classic

    OPPORTUNITIES29 Next Stage / Works in Progress

    SCREEN30 Coming to the Arts Cinema GALLERY31 Regions of Alienation / Satellites of Love32 JUWS Photography Award33 Gold Coast International Ceramic Art Award35 South Stradbroke Island Indigenous Artist Camp

    EVENTS36 Farmersandfitness37 Unseen GC38 Pasifika

    MORE40 Cultural Precinct update41 Talking space with Dr Patrick Mitchell42 Fire & Ice Christmas party44 Sharing a love for art50 An extraordinary legacy51 Make a real difference54 Friends of The Arts Centre Gold Coast55 Partners

    Get social with us#culturemagazine


    Welcome to Culture

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    amien B






    The art of acrobat ics

    Circas Artistic Director, Yaron Lifschitz,

    tells us why Il Ritorno rises above

    many peoples expectations of circus.

    Its incredible to think one of the most groundbreaking circus companies in the world is based just up the highway in Brisbane. In just over a decade, Circa has toured to 34 countries across six continents, with work that has been rapturously received by audiences, presenters and critics around the world. Circa is at the frontier of new circus creating powerful works of circus art that challenge, thrill and delight. At the centre of Circa is the art. Shows that push the boundary of the circus artform, blur the lines between movement, dance, theatre and circus and yet are a unique, singular Circa experience. Circas Artistic Director, Yaron Lifschitz, says for the past 17 years I have believed, naively, totally and to the embarrassment of many doubters that this genre of circus is a real artform. That it can express deep emotions and higher truths, that it can grapple with issues, exalt our spirits and touch our souls. Sadly, today it is constantly debased by the idea that it can only entertain. Like opera, it is full of conventions and keepers of the one true way who suffocate it by purporting to protect it. Circas groundbreaking new work, Il Ritorno, fuses extraordinary acrobatics with baroque opera. It retells Claudio Monteverdis 17th Century opera Il Ritorno DUlisse in Patria (The Return of Ulysses to his Homeland), intermingling it with folk song and new compositions. Of Il Ritorno, Yaron says I wanted to break it all. To rebuke off those who think opera is about sets and warbling, to annoy those who believe circus is an extension of the strip club or adolescent technicolor lycra fantasy. With Quincy Grant, our exceptional musical collaborator, we fashioned a world out of Monteverdi as a tale within a tale surrounded by Mahler, folksong and Quincys own compositions. With our singers we asked them to sing across style with a multitude of bodies and stagings around, over and in the middle of them. And with our acrobats we, as always, challenged them to embrace the new, invest themselves and pursue what is vital and necessary. The story of Il Ritorno follows the Greek hero Ulysses returning home after twenty long years of war and wanderings, desperate to reach his faithful wife Penelope before she succumbs to her suitors. At the core of Il Ritorno is the hunger to return home saturated with loss and war, powered by longing and haunted by the past. It would be absurd to imagine that what we do, in a small room in Brisbane, can really make a practical difference, says Yaron. But I doggedly believe that when we challenge ourselves, when wemakeitpersonal,whenwetrytocommunicatedifficult,inexpressiblethingsandwhenwesharethem, raw, vulnerable and without the safety net of convention, then we have continued to help a little to keep culture alive culture which may be our only defense.

    See Il Ritorno on Friday 26 or Saturday 27 August in the Arts Theatre at 7.30pm. Tickets are Adult $48, Concession $42, Group 6+ $42 and Student / Child (U15yrs) $26. Running time is 80 minutes (no interval). Book at or (07) 5588 4000.


    Fit for the operaAfter a 25 year career in Europe, Gold Coast resident, Karen Cochet, brings a

    wealth of experience to her role as Head of Wardrobe for Opera Queensland.

    See her stunning work in the upcoming production of The Barber of Seville.

    Images: (left to right) Tracey Grant Lord working with Karen Cochet, an illustration and fabric of Bertas dress, Karen Cochet in wardrobe.

    Karen Cochet has had an interesting and varied career that has taken her from the Gold Coast to England, continental Europe and back again. She plays a huge part in bringing all Opera Queensland productions to life on the stage. With The Barber of Seville coming up, the wardrobe department is a hive of activity.

    Karen, tell us about your work on The Barber of Seville.The Barber of Seville is a new production directed by Lindy Hume with vibrant costumes designed by Tracy Grant Lord. As it's a new production, we began making the costumes early to be ready for July. Its always exciting to build a new show and our talented, dedicated team is working together to make Lindy and Tracys vision come alive.

    How would you describe Tracy Grant Lords designs?Theres a real Spanish influence but then theres a real couture touch. Even in the colours and the appliques and everything we are putting together. Its very lovely. Weve had toile fittings (using calico to test the patterns on the cast). If youre working on a flat pattern and it goes on a person you can change the line of the costume and add volume. Its a lot of work, but working with these designs is so interesting. I love it.

    Whats the most interesting costume for you? Bertas dress. Its a stunning hot pink duchess satin, but you should see it for real. You couldnt even capture the colour of it in a photo. Its pink, but its shot with orange. We sourced it from a company in Lyon, France. I used to live in Switzerland and use this company a lot so I still had their samples. Usually shot fabric would be woven with pink thread one way and orange thread the other, but in this fabric the actual threads are shot. Its really interesting to see it. Interesting to me, anyway!

    Is it true you have to make 30 costumes fit 250 different chorus members? Yes! Its a tall order but weve already done it w

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