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May, 2013
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Showreel Course

Showreel Course

The Showreel course is one of Screenwise’s most popular courses, offering students hands on screen acting training and a professional Showreel at graduation. There are two intakes each year in January & July.


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Sarah

02 9241 4484
 PRODUCTION
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Stefo Nantsou

NRMA Motoring & Services has partnered with the Sydney Theatre Company (STC) to produce a unique and compelling theatre production about road safety. The play, Road Train written and directed by STC’s Resident Director, Community, Stefo Nantsou, targets young drivers with road safety messages with a quality theatre production featuring professional actors.

As Australia's largest Member organisation, providing a range of services for our Members and the community, including our legendary roadside assistance, car reviews, a diverse range of motoring, travel and lifestyle benefits as well as products & service
 AUDITION
May, 2013
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Lisa Johnston

Open auditions for ages 17 up are being held for The Pajama Game at Stirling Theatre, Morris Place in Innaloo on Saturday May 18th from 2-6pm. Wear comfortable clothes for movement. girls will need to sing, 'I'm not at all in love' and the guys need to sing,'Hey there'. You will also be given a scene to read if you are interested.
Please contact the director, Lisa Johnston,0421 965 234 or lisajohnston_206@hotmail.com
Most rehearsals will be Monday/Tuesday nights, 7 - 10pm and Sundays 1 - 4pm
Show dates 5th - 21st September (Thurs/Fri/Sat) with Sunday matinees and possible Tuesday charity nights.


Morris News

9440 1040

info@stirlingplayers.com.au
Tin Tent | 05/05/2013 - 09:26

Blog #8: Audits and new adventures

Overview of week’s activities:
1) audit compliance requirements
2) avenues for exploration open up

This week has been reserved for catching up on all those tasks that were postponed to concentrate on the reading and signing off on the grant requirements. There’s been a disproportionate amount of time, energy, and money put into securing the grant against the quite small amount we received for the project (all of which went to the director). So the question has to be: was it worth it? That is, was all the personal time, effort and money pout into securing the grant worth the employment of a professional director? Did my playwriting benefit enough for all that effort and expense? I am very tempted to say “No” and a resounding “No” at that. If anything I would say it has damaged the process, because the actors became jittery and insecure about the project once they heard what the director said about it. They then stampeded for the door and disappeared into a cloud of anxiety like a herd of Thompson gazelles with the scent of lion in their nostrils. Having said that, the process did make a few things clearer for me (see previous blog) and I suspect, the benefits of both the grant process and the secondment of a professional director might become more apparent in the future.

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