dramatic art graduating - Australian Institute of Music

AUSTRALIAN 

ACADEMY OF 

DRAMATIC ART 

GRADUATING 

COMPANY 

2010 

BACHELOR OF 

PERFORMANCE 

A UNIQUE EDUCATION 

FOR THE ACTOR / 

CREATOR / 

PRODUCER / 

AUSTRALIAN ACADEMY OF DRAMATIC ART 

AUSTRALIAN INSTITUTE OF MUSIC

AUSTRALIAN 

ACADEMY OF 

DRAMATIC ART 

/////////////////////////////////////////////////////////////////////// 

The Australian Academy of Dramatic Art 

(AADA) is home to young and emerging 

theatre artists who are passionate about 

performing, creating and producing 

their own work. Building on a 25-year 

reputation, AADA is now a department of 

the Australian Institute of Music (AIM), a 

Higher Education Provider with over 40 

years experience in music education. 

The Bachelor of Performance is AADA’s 

new undergraduate degree, providing 

a unique education for the Actor / 

Creator / Producer. A vital alternative to 

mainstream acting courses, the Bachelor 

of Performance provides professional 

training in theatre performance and 

theatre making. Each student in the 

program is given maximum opportunity to 

acquire knowledge, skills and attitudes in 

the full suite of contemporary theatre arts. 

These range from acting to design, from 

dramaturgy to marketing. 

At AADA, we seek to nurture students’ 

individual creativity and artistic 

excellence; to instill professionalism 

and determination; to facilitate creative 

exploration and innovation; and to 

engage with current artistic debate. 

We encourage students to challenge 

the imagination in ways that are 

unique to live performance; to create 

works in contemporary and traditional 

theatre spaces; and to engage with 

the full breadth and diversity of human 

experience and expression. 

The Bachelor of Performance is a bold 

new voice in Australian theatre training. 

We hope you’ll help us spread the word. 

Andrew Davidson 

Head of AADA

1. FUDDY MEERS 

Photo: Brett Boardman 

2. THE RABBITS 


3. MOTHER COURAGE 

Photo: Jean-Pierre Bratanoff- 

Firgoff 

1. 2. 

3. 






6. WILD PARTY 

Photo: Heidrun Lӧhr 

////////////////////////////////////////////////////////////////////////////////////// 

TIM BURNS 

LAKE MACQUARIE, NSW 

21 

EDUCATION: 

Advanced Diploma of Arts (Acting), 

2009; Bachelor of Performance 

Conversion Course, 2010. 

PLACEMENT: 

Playwriting Australia. 

4. 

PRODUCTIONS: AS ACTOR: 

Hating Alison Ashley, The Wild Party, 

Green Orange - Ireland Onstage, 

Mother Courage, Journey, Fuddy 

Meers, Ophelia Thinks Harder, The 

Misanthrope, Lysistrata, The Rabbits, 

Attempts on Her Life. 

AS LIGHTING & SOUND DESIGNER: 

The Five-Dollar Note. 

AS ASSISTANT DIRECTOR: 


6. 

5. 

////////////////////////////////////////////// 

I SEE THE WORLD AROUND ME 

AS AN ABSURD SATIRE THAT IS 

TAKEN TOO SERIOUSLY BY THE 

PEOPLE WITH THE BEST VIEW. 

////// 

TIM 

BURNS 

////////////////////////////////////////////////////// //////////////////////////////// 

“Comedies that offer 

audiences an escape by 

breaking the fourth wall 

or using unpredictable 

conventions are what I 

enjoy the most. 

I see the world around me 

as an absurd satire that is 

taken too seriously by the 

people with the best view. 

It is those people who are 

blind to the ones trapped 

in a tragedy. 

The less informed half of 

the Western world holds 

onto the state of the rest of 

the world. 

I would like my work to 

make a loud statement 

about the common 

perspective.” 

”

1. LARAMIE PROJECT 


2. URBAN ARCHIVE 


3. LIFE STORY 


1. 2. 3. 

4. 

4. THE QUESTION 


5. BLOOD WEDDING 




////////////////////////////////////////////////////////////////////////////////////// 

TOM CHRISTOPHERSEN 

BRISBANE, QUEENSLAND 

23 

EDUCATION: 

Bachelor of Performance, 2010. 

PLACEMENT: 

Shopfront Contemporary Arts & 

Performance. 


The Laramie Project, The Urban 

Archive, Blood Wedding, The 

Question, Attempts on Her Life. 

AS DIRECTOR: 

The Rabbits. 

AS SOUND DESIGNER: 


FOR AIM MUSIC THEATRE: AS 

ACTOR: 

Dusty. 

5. 

6. 

////////////////////////////////////////////////// 

I LOVE THEATRE THAT 

TRANSFORMS, DEVIATES 

FROM THE PATH, OFFENDS, 

PERSONALISES, CHARMS, 

ATTACKS, ERUPTS, SEDUCES, 

LIVES AND DIES. 

” 

///////////////////////////////////////////////////// //////////////////////////// 

“I love theatre that 

transforms, deviates 

from the path, offends, 

personalises, charms, 

attacks, erupts, seduces, 

lives and dies. In a world 

full of not-very-important 

images, theatre is a medium 

that is political, social, and 

a truly unique, tangible, 

possibly life-changing, 

event that actors and 

audiences can physically 

exist in and experience 

together. That is amazing. 

I want to make theatre 

that blends visual art and 

multi-disciplinary practices 

to create collage-like visual 

atrocities on stages around 

Australia and the world. I 

want to make theatre that 

makes people stop, that 

says something important, 

turns people on, looks and 

feels amazing and, like all 

good art, makes people 

think, hard.” 

//////// 

TOM 

CHRISTOPHERSEN

1. 

///////////////////////////////// 

1. FIVE DOLLAR NOTE 


2. LYSISTRATA 


3. LYSISTRATA 


3. 





6. LYSISTRATA 


////////////////////////////////////////////////////////////////////////////////////// 

ASHARI EMERY 

SYDNEY, NSW 

27 

EDUCATION: 

Advanced Diploma of Arts (Acting), 2005; 

Bachelor of Performance Conversion 

Course, 2010 

PLACEMENT: 

Global Entertainment / Intomedia. 


The Libertine, A Lie of the Mind, The 

Boys, Playing the Victim, Stags and Hens, 

Lysistrata, The Five-Dollar Note, Attempts 

on Her Life. 

AS DIRECTOR: 

Removed. 

AS MUSICAL SUPERVISOR: 


4. 

5. 

2. 

6. 

///////////////////////////////////////////// 

FOR AUSTRALIA TO MOVE 

FORWARD, I BELIEVE WE 

NEED TO ADDRESS 

CULTURAL PREJUDICE, 

AND THEATRE IS A GREAT 

STARTING POINT FOR THIS. 

“I want to see and be a part 

of theatre that transports 

its audience into the world 

of the play, creating an 

emotional connection that 

fuels thought. 

Humans become more 

selfish the more they 

evolve. Theatre can 

draw out compassion 

and understanding. For 

Australia to move forward, I 

believe we need to address 

” 

cultural prejudice, and 

theatre is a great starting 

point for this. 

As Augusto Boal, creator 

of the Theatre of the 

Oppressed, puts it: ‘Theatre 

is a form of knowledge; 

it should and can also be 

a means of transforming 

society. Theatre can help 

us build our future, rather 

than just waiting for it’.” 

///////////// 

ASHARI 

EMERY 

////////////////////////////////////////////////////// ////////////////////////////////

1 WOMEN OF TROY 


2. WOMEN OF TROY 




4. DANGEROUS 

LIAISONS 


5. AMERICA ONSTAGE 


6. TWELFTH NIGHT 


1. 2. 3. 

////////////////////////////////////////////////////////////////////////////////////// 

OLLIE FORD 

SYDNEY, NSW 

25 

EDUCATION: 




PLACEMENT: 

New Theatre. 


Table Manners, Twelfth Night, 

Dangerous Liaisons, Red White & 

Blue - America Onstage, Women of 

Troy, Lysistrata, The Five-Dollar Note, 


AS DESIGNER: 

Removed. 

AS AV DESIGNER: 


4. 

6. 

5. 

//////////////////////////////////////////////////// 

I STRONGLY BELIEVE THAT 

COMEDY AND ENTERTAINMENT 

COMBAT NEGATIVE ENERGY 

AND OFFER CATHARSIS IN 

THE FACE OF THE UNDENIABLE 

PRESENCE OF EXTREME HATE 

AND VIOLENCE IN THE WORLD. 

” 

////////// 

OLLIE 

FORD 

///////////////////////////////////////////////////// //////////////////////////////// 

“Since I can remember, I 

have found making people 

laugh to be one of the 

most exciting and fulfilling 

achievements. Performance 

can be a profound way to 

affect people, and satire of 

the foibles of mankind is an 

effective way 

of encouraging the people 

around us to grow. 

I strongly believe that 

comedy and entertainment 

combat negative energy and 

offer catharsis in the face of 

the undeniable presence of 

extreme hate and violence in 

the world.”

1 FUDDY MEERS 


2. WILD PARTY 




4. LYSISTRATA 

Photo: Brett Boardmanr 

1. 2. 

3. 




6. JOURNEY 


4. 5. 

////////////////////////////////////////////////////////////////////////////////////// 

ELOISE HARPER 

SYDNEY, NSW 

21 

EDUCATION: 




PLACEMENT: 

Version 1.0. 


Hating Alison Ashley, The Wild Party, 

Green Orange - Ireland Onstage, 

Mother Courage, Journey, Fuddy 

Meers, Ophelia Thinks Harder, 

The Misanthrope, Lysistrata, The 


AS STAGE MANAGER: 

The Rabbits, Attempts on Her Life. 

6. 

/////////////// 

ELOISE 

HARPER 

/////////////////////////////////// 

THE BODY CAN GIVE 

AND TELL JUST AS 

MUCH AS WORDS. 

” 

////////////////////////////////////////////////////// ///////////////////////////////// 

“The body can give and tell 

just as much as words. I wish 

to start my own Verbatim 

Physical Theatre Company, to 

put the words and feelings of 

troubled women on stage and 

help re-build their strength. I 

hope to get people thinking 

and change their perceptions. 

I hope to go on to teaching 

workshops to young children 

to keep the world of 

theatre alive. 

‘It is easy to coast through 

life rather than find the will 

to continually reach out into 

the world. To reach out is to 

risk. There is little grace in 

a life that never extends out 

beyond the boundaries of 

self.’ – Anne Bogart.”



2. BABY WITH THE 

BATHWATER 



BATHWATER 



BATHWATER 




1. 2. 3. 

4. 



////////////////////////////////////////////////////////////////////////////////////// 

ALICE HARVEY 

Sydney, NSW 

22 

EDUCATION: 


PLACEMENT: 

Bankstown TAFE. 


Woman in the Window, Origin, Baby 

with the Bathwater, The Laramie 

Project, The Urban Archive, Blood 

Wedding, The Question, Attempts on 

Her Life. 

AS DESIGNER: The Rabbits. 

AS COSTUME DESIGNER: 


5. 

6. 

/////////////////////////////////////////////////// 

I ENJOY PERFORMANCES 

THAT TAKE RISKS, DRAW ME 

IN, KEEP ME GUESSING AND 

EXPLORE UNUSUAL THEMES. 

” 

/////////////// 

ALICE 

HARVEY 

////////////////////////////////////////////////////// //////////////////////////////// 

“I enjoy performances that 

take risks, draw me in, keep 

me guessing and explore 

unusual themes. From circus 

to stage, from busking to 

screen - I love it all. 

I hope to be involved in 

performances that charge 

debate and initiate change 

in people’s thinking and 

perspective. I care a lot for 

the environment. I would like 

to promote environmental 

awareness and bring about 

change. I have always 

wanted to do a one-woman 

show about plastic bags to 

educate communities about 

their environmental impact. 

I’m proud to be part of 

the first AADA Bachelor of 

Performance Graduating 

Company with so many skills 

under my belt, including 

acting. My proudest moment 

at AADA was being directed 

by Iain Sinclair as the Bride 

in Blood Wedding.”

1. LYSISTRATA 


2. LYSISTRATA 




4. LYSISTRATA 


1. 2. 

3. 





////////////////////////////////////////////////////////////////////////////////////// 

INGRID HAUBERT 

SYDNEY, NSW 

24 

EDUCATION: 




PLACEMENT: 

The Performance Space. 


Spring Awakening, The House of 

Bernarda Alba, Time and the Conways, 

Female Transport, The Children’s 

Hour, The Season at Sasparilla, Pick 

Ups, Lysistrata, The Five-Dollar Note, 




AS COSTUME COORDINATOR: 


4. 

6. 

5. 

/////////////// 

INGRID 

HAUBERT 

//////////////////////////////////////////////////// 

WHEN I WAS THREE MY 

FATHER BOUGHT A VIDEO 

CAMERA. THINKING IT WAS A 

TIME MACHINE; I WANTED TO 

BE CAPTURED BY IT AS OFTEN 

AS POSSIBLE. 

” 

///////////////////////////////////////////////////// //////////////////////////////// 

“When I was three my father 

bought a video camera. 

Thinking it was a time 

machine; I wanted to be 

captured by it as often as 

possible. 

I see the world right now 

as being somewhere in the 

middle of a transition. There 

is so much heat, anger, 

lust, hatred, hope, love, and 

intelligence being thrown 

around. I prefer to look at 

our world as a whole, rather 

than cut it up into pieces. 

There is nothing new under 

the sun, so any issue that we 

have in Australia resonates 

out to the world. 

I’d like to create a work 

about the repercussions that 

our global society has on 

smaller communities.”











6. DANGEROUS 

LIASIONS 


1. 2. 3. 

////////////////////////////////////////////////////////////////////////////////////// 

RACHAEL HIGGINS 

Sydney, NSW 

24 

EDUCATION: 




PLACEMENT: 

Playwriting Australia. 

4. 


The Dining Room, Twelfth Night, 

Dangerous Liaisons, Red White & Blue 

- America Onstage, Women of Troy, 

Lysistrata, The Rabbits, Attempts on 

Her Life. 

AS DESIGNER: 


6. 

AS LIGHTING DESIGNER: 


5. 

///////////////////////////////////////////////////// 

I’M DRAWN TO WORKS ABOUT 

HUMANITY THAT INSPIRE AND 

CHANGE AN AUDIENCE. 

” 

/////////////// 

RACHAEL 

HIGGINS 

////////////////////////////////////////////////////// //////////////////////////////// 

“I love theatre making and 

play building, and I believe 

that, with the right ensemble, 

devised theatrical works can 

be one of the most exciting 

experiences a performer can 

have. 

I’m drawn to works about 

humanity that inspire 

and change an audience. 

That is the essential idea 

of performance for me: 

portraying the human 

condition in order to learn 

more about ourselves. 

I love watching 

performances that delve into 

the raw and mysterious parts 

of humanity. I hope that 

through such experiences I 

will learn something about 

the character and, therefore, 

about myself.”



2. LIFE STORY 


3.URBAN ARCHIVE 


1. 1. 2. 2. 3. 

4. 


BATHWATER 






///////////////////////////////////////////////////////////////////////////////////// 

JENNA HUTTON 

SYDNEY, NSW 

20 

EDUCATION: 


PLACEMENT: 

Bell Shakespeare Company. 




4. 

Project, 

The Urban Archive, Blood Wedding, 

The Question, Attempts on Her Life. 

AS DIRECTOR: 


AS SET DESIGNER: 


FOR AIM MUSIC THEATRE: AS 

ACTOR: Dusty. 

6. 

4. 

5. 

6. 

/////////////// 

JENNA 

HUTTON 

///////////////////////////////////////////////// 

MY GOAL AS A PERFORMING 

ARTIST IS TO MAKE MORE 

AUSTRALIANS FEEL THE SAME 

AS I DO WHEN I SEE A GREAT 

STORY TOLD LIVE. 

///////////////////////////////////////////////////// ” 

//////////////////////////////// 

“What draws me to a 

performance is a good story 

and, although I have a deep 

love for movement theatre, I 

am still discovering new and 

exciting ways to tell stories. 

This world needs stories! 

Probably now more than 

ever because of our growing 

need for materialistic 

“things”, and the gradual 

breakdown of language 

and communication. The 

connection to theatre 

in Australia is slowly 

slipping because people 

find it easier, cheaper, and 

more fulfilling to watch TV 

or film. I do love film as a 

medium, however my goal 

as a performing artist is 

to make more Australians 

feel the same as I do when 

I see a great story told 

live, on a stage, with other 

people sharing the same 

experience. 

It’s exhilarating!”


BATHWATER 






BRETT JOACHIM 

SYDNEY, NSW 

27 

1. 2. 

3. 

4. REMOVED 


5. LIFE STORY 




////////////////////////////////////////////////////////////////////////////////////// 

EDUCATION: 


PLACEMENT: 

Short and Sweet. 

4. 

6. 

6. 





Wedding, Removed, Attempts on Her 

Life. 


The Question. 

AS REHEARSAL MANAGER: 


5. 

/////////////// 

BRETT 

JOACHIM 

///////////////////////////////// 

I TAKE PLEASURE 

IN CREATING AND 

PARTICIPATING IN 

PERFORMANCES 

THAT CRITIQUE 

SOCIETY THROUGH 

HUMOUR, WIT, AND 

A SONG AND DANCE 

NUMBER OR TWO. 

” 

////////////////////////////////////////////////////// //////////////////////////////// 

“I take pleasure in creating 

and participating in 

performances that critique 

society through humour, 

wit, and a song and dance 

number or two. 

This allows audiences to be 

entertained as well as be 

educated into the problems 

that exist in our society. 

A current issue that concerns 

me, and I would like 

audiences to be more 

actively involved in, is the 

ridiculous amount of money 

the banks are making out of 

their customers. 

They give barely anything 

back in the name of “safe, 

low-risk security”. What rot. 

Down with the banks!”

ALUMNI 

//////////////////////////////////////////////////////////////////// 

Since 1983, the Alumni of the 

Australian Academy of Dramatic 

Art have been working in a broad 

range of careers directly or indirectly 

related to theatre performance. 

They can be found running their own 

companies (Portland Playhouse, 

Oregon USA), coordinating festivals 

(Tropfest), administrating for arts 

funding bodies (Australia Council), 

stage managing co-operative theatre 

(Alex Buzo Company), working 

in major venues (Sydney Opera 

House), and performing in television 

commercials and series (All Saints, 

Blue Heelers, Packed to the Rafters). 

They teach for youth arts companies 

(ATYP, Canberra Youth Theatre), 

report on the arts in the street 

press and online (Arts Hub), and 

undertake leadership roles on arts 

projects for youth and social welfare 

organisations (Bankstown City 

Council). 

AADA Alumni can also be found in 

a range of other fields, including 

speech pathology and dance, where 

the skills acquired or enhanced 

by their study at the Australian 

Academy of Dramatic Art can be 

applied. 

FULLTIME STAFF 

HEAD OF AADA 


VOICE 

COORDINATOR 

Alistair Toogood 

PLACEMENT 

COORDINATOR 

Margaret Spillane 

TEACHING 

PROGRAM STAFF 

ACTING 

Stefanos Rassios 

Inga Romantsova 

Marcelle Schmitz 

AUDITION 

MASTERCLASS 

Lex Marinos 

CHINESE THEATRE 

Sally Sussman 

CONTEXTUAL 

STUDIES 

Margaret Davis 

CORPORATE 

PERFORMANCE 

Antony Grgas 

CREATIVE 

DEVELOPMENT 



DESIGN 

Tobhiyah Feller 

DIRECTING 

Helmut Bakaitis 

IMPROVISATION 

Cale Bain 

LIGHTING & SOUND 

Matt Cox 

Steve Francis 

Luke Gordon 

Jeremy Silver 


MOVEMENT 

Anca 

Frankenhaeuser 

Sara Ritchie 

Nicolas Witte 

ONLINE 

ENVIRONMENT 

Clodagh Higgins 

PRODUCTION 

MANAGEMENT 

Sam Hawker 

Kylie Mascord 

REHERSAL ROOM 

Aarne Neeme 

SHAKESPEARE 

WORKSHOP 

Matt Edgerton 

Barry Quin 

SINGING 



STAGE COMBAT 

Kyle Rowling 

VOICE 

Antony Grgas 


GUEST 

LECTURERS 

ACTING 

Heather Mitchell 

ACTING FOR 

CAMERA 

Belinda Giblin 

Barry Quin 

ALEXANDER 

TECHNIQUE 

Helen Thomson 

DESIGN 

Katja Handt 

DRAMATURGY 

May-Brit Akerholt 

Francesca Smith 

FELDENKRAIS 

Margaret Kaye 

FUNDING 

Lyn Wallis, 

Australia Council 

IMPROVISATION 

Lyn Pierse, 

Impro Australia 

PLAYWRITING 

Noëlle Janaczewska 

Tommy Murphy 

PRODUCING 

Luke Cowling, 

Critical Stages 

PRODUCTION 

MANAGEMENT 

Pella Gregory 

////////// 

STAFF 

////////////////////////////////////////////////////////////////////////////////////// 

PERFORMANCE 

PROGRAM STAFF 

DIRECTORS 

Joshua Consandine 


Anca 

Frankenhaeuser 

Kate Gaul 

Jason Langley 

Brendon McDonall 

Aarne Neeme 


Iain Sinclair 

Anthony Skuse 

Jessica Symes 

DESIGNERS 

James Browne 

Tobhiyah Feller 

Alexandra Gallery 

Megan Venhoek 

LIGHTING 

DESIGNERS 

Matt Cox 

Joshua Emanuel 

Eddi Goodfellow 

Verity Hampson 

GRADUATING 

COMPANY 

BROCHURE 

GRAPHIC DESIGN 

Gabriel Clark 

HEADSHOT 

PHOTOGRAPHY 

Marcus Walters, 

Mpire Creative

1. REMOVED 


2. LYSISTRATA 


3. LYSISTRATA 

Photo: Brett Boardmann 

4. REMOVED 


6. LYSISTRATA 


5. REMOVED 


1. 2. 

3. 

////////////////////////////////////////////////////////////////////////////////////// 

KANE LACH 

ADELAIDE, SA 

22 

EDUCATION: 

Adelaide Centre for the Arts: 




4. 

6. 

PLACEMENT: 

Channel 7, Home & Away Art 

Department. 


Lysistrata, Removed, Attempts on 

Her Life. 

AS PRODUCTION MANAGER: 

The Question. 

AS SET COORDINATOR: 


5. 

////////// 

KANE 

LACH 

/////////////////////////////////////////////////// 

I WANT TO BE CHALLENGED 

TO THINK ABOUT MY WORLD 

IN A DIFFERENT WAY. I NEVER 

WANT TO LEAVE A THEATRE AND 

THINK, “THAT WAS OK”. 

” 

////////////////////////////////////////////////////// ///////////////////////////////// 

“On stage I enjoy working 

physically. In a physical 

theatre context, or even a 

musical context, being larger 

than life is a thrill for me. 

As an audience member, I 

want to be challenged to 

think about my world in a 

different way. I never want to 

leave a theatre and think, 

“That was OK”. 

I’ve spent as much time 

as a youth worker as I have 

as an artist and feel I want 

to be able to use my skills 

as an actor and creator in 

order to connect with young 

people and create theatre 

focusing on youth issues.”



2. LIFE STORY 






5. LIFE STORY 


6. LIFE STORY 


1. 2. 3. 

///////////////////////////////////////////////////////////////////////////////////// 

DANIELLE MAAS 

SYDNEY, NSW 

21 

EDUCATION: 


PLACEMENT: 

Siren Theatre Company (Kate Gaul). 

4. 





6. 


The Rabbits. 

AS DRAMATURG: 


5. 

//////////////////////////////////////////////// 

FEMINISM ISN’T A DIRTY WORD 

– IT IS AN IDEA THAT FORMS 

AN INTEGRAL PART OF OUR 

COLLECTIVE CONSCIOUSNESS. 

‘Where there is a stink of 

shit, there is the smell of 

being.’ – Antonin Artaud. 

“I like my theatre 

intense, intimate and 

intellectual; the greatest 

tragedy that could occur 

at the conclusion of 

a performance is the 

complete absence of 

change within oneself. 

These thoughts mirror my 

experience of the world, 

which always seems to 

overwhelm me due to my 

inability (perhaps 

refusal) to wear my heart 

anywhere but my sleeve. 

My work centres on ideas of 

gender and sexuality. They 

are the most misunderstood 

aspect of contemporary 

Western culture. Feminism 

isn’t a dirty word – it is an 

idea that forms an integral 

part of our collective 

consciousness. Dialogue 

on the part of both sexes 

is essential if we truly want 

to ‘move forward’ as a 

society.” 

” 

///////////////// 

DANIELLE 

MAAS 

///////////////////////////////////////////////////// ///////////////////////////////





3. LIFE STORY 








1. 2. 3. 

4. 

////////////////////////////////////////////////////////////////////////////////////// 

ANNABELLE MCMILLAN 

SYDNEY, NSW 

20 

EDUCATION: 


PLACEMENT: 

The Performance Space. 

4. 



Archive, Blood Wedding, The Rabbits, 




AS TRANSLATOR: 


5. 

6. 

///////////////////////////////////////////// 

THE WORLD IS STARVED OF 

VISCERAL EXPERIENCE AND 

HURTING FROM SENSELESS 

HUMAN IMPACT. 

“My mixed heritage has been 

a key influence on my desire 

to explore what can be “mixed 

up” in theatre. 

I am excited by cross-platform 

work, investigating the 

application of digital media, 

puppetry, dance, movement, 

projection, visual art and 

installation. The intersection 

between East and West in 

the work of Julie Taymor is 

a significant influence on 

me. The world is starved of 

” 

visceral experience and 

hurting from senseless 

human impact. I am keen to 

push audiences back into 

thought and sensation. 

I am excited to radically adapt 

texts of old, and to develop 

fresh, new, internationally 

informed work. In Australia 

I’d like to address issues 

around international relations, 

immigration policy and 

societal views on sex and 

violence.” 

//////////////////// 

ANNABELLE 

MCMILLAN 

///////////////////////////////////////////////////// ///////////////////////////////









5. PERSONA 


1. 2. 

3. 



////////////////////////////////////////////////////////////////////////////////////// 

HOA NGUYEN 

LIVERPOOL, NSW 

23 

EDUCATION: 


PLACEMENT: 

Film Graphics Entertainment. 



Archive, Blood Wedding, The Five- 

Dollar Note, Attempts on Her Life. 

4. 

6. 


Removed. 

AS SOUND & LIGHTING OPERATOR: 


5. 

////////////////////////////////////////////////////// 

STORIES THAT CHALLENGE 

CONVENTIONAL THINKING ARE 

THE ONES THAT MOST INTEREST 

ME. 

” 

“Destined for a life of 

unimaginative logic and sport, I 

sought to explore and discover. 

The more I questioned, the 

more involved I became. ‘Early 

in life I had noticed that no 

event is ever correctly reported 

in a newspaper.’ – George 

Orwell. 

I aim to pursue works inspired 

by actual events and people: 

performances that make actors 

or audience members 

question the characters, 

themselves, and the worlds 

they inhabit. Film incorporates 

unparalleled ways of depicting 

characters within stories. 

Stories that challenge 

conventional thinking are the 

ones that most interest me. 

My job as an actor is to 

facilitate stories that can be 

interpreted by anyone for their 

own means.” 

/////////////// 

HOA 

NGUYEN 

///////////////////////////////////////////////////// ///////////////////////////////////

1. LYSISTRATA 




3. LYSISTRATA 


4. LYSISTRATA 


5. LYSISTRATA 




1. 2. 

3. 

////////////////////////////////////////////////////////////////////////////////////// 

TAMARA PATRICK 

DUBBO, NSW 

28 

EDUCATION: 




PLACEMENT: 

Powerhouse Youth Theatre. 


Blackrock, Because You Are Mine, 

Our Country’s Good, The Matchmaker, 

Lysistrata, The Rabbits, Attempts on 

Her Life. 

6. 

4. 


The Five-Dollar Note, 


5. 

////////////// 

TAMARA 

PATRICK 

///////////////////////////////////////////////// 

THERE ARE NO DREAMS NOT 

WORTH CHASING AND ANYONE 

CAN ACHIEVE THEM AS LONG 

AS THEY HAVE SELF-BELIEF 

AND A GOAL. 

” 

///////////////////////////////////////////////////// /////////////////////////////// 

“I love a performance that 

moves me in every possible 

way. I want to broaden an 

audience’s perspective on 

the way they think to allow 

a reaction that can create 

a positive outlook for their 

own lives. 

Born and bred a country girl, 

my rural background was 

anything but privileged. 

I particularly want to 

inspire less privileged 

people to follow their 

dreams as I have in my life. 

There are no dreams not 

worth chasing and anyone 

can achieve them as long as 

they have self-belief and a 

goal.”



2. OPHELIA THINKS 

HARDER 













1. 2. 3. 

////////////////////////////////////////////////////////////////////////////////////// 

AMELIA ULRICK 

SYDNEY, NSW 

23 

EDUCATION: 




PLACEMENT: 

Ambience Entertainment. 

4. 


Secret Bridesmaid’s Business, The 

Wild Party, Green Orange - Ireland 

Onstage, Mother Courage, Journey, 

Fuddy Meers, Ophelia Thinks Harder, 

The Misanthrope, Lysistrata, Removed, 



The Question. 

AS VOICE COACH: 


6. 

5. 

///////////// 

AMELIA 

ULRICK 

/////////////////////////////////////////////////// 

ART IS TO BE BREATHED AND 

LIVED, ENGAGING HEART, MIND, 

BODY AND IMAGINATION. 

” 

///////////////////////////////////////////////////// /////////////////////////////// 

‘I believe fervently in nature, 

in truth and imagination, 

I believe in blood, in life, 

words, and motivations.’ – 

Gael Garcia Bernal. 

“I love theatre and film 

that confronts yet allows 

escape; that is brutal yet 

offers the most intimate 

embrace. I am passionate 

about making work that 

shows how fear of the 

unknown leads to personal 

and universal devastation. 

Art is to be breathed and 

lived, engaging heart, mind, 

body and imagination. My 

favourite AADA moment 

was playing Claire in Fuddy 

Meers, an amnesiac with a 

sunny disposition, piecing 

her fractured identity back 

together. I found in this 

role myriad of wonderful 

challenges and new 

discoveries.”

1. REMOVED 




3. REMOVED 


4. REMOVED 


5. LIFE STORY 


6. PERSONA 


1. 2. 3. 

4. 

////////////////////////////////////////////////////////////////////////////////////// 

LISA WALKER 

JERVIS BAY, NSW 

19 

EDUCATION: 


PLACEMENT: 

Information and Cultural Exchange 

(ICE). 



Archive, Blood Wedding, Removed, 


AS DESIGNER: 

The Question. 

AS FINANCIAL MANAGER: 


5. 

6. 

////////////// 

LISA 

WALKER 

////////////////////////////////////////////// 

I BELIEVE IN THE POWERFUL 

NATURE OF COLLECTING, 

TRANSFORMING, AND SHARING 

THE SIGHTS, SOUNDS, AND 

SENSATIONS THAT SPEAK 

TO MY SOUL. 

///////////////////////////////////////////////////// ” 

//////////////////////////////// 

“I believe in the powerful 

nature of collecting, 

transforming, and sharing 

the sights, sounds, and 

sensations that speak to my 

soul. 

My goal is to set up an 

independent theatre group 

designed to help rural youth 

find focus, belonging and 

artistic fulfillment. 

The things I love most about 

theatre are the amazing 

people you meet during a 

project and the incredible 

amount of things you learn 

in such an open-minded 

industry. 

During my time at AADA, 

nothing could beat the 

satisfaction of creating 

Gabrielle, an outrageously 

delicious French hostess 

who wants champagne right 

now and is sure to mess up 

a jazz club near you in the 

not-so-distant future.”






BATHWATER 


1. 2. 

3. 



5. LIFE STORY 




////////////////////////////////////////////////////////////////////////////////////// 

JESSICA WALLACE 

SYDNEY, NSW 

22 

EDUCATION: 


PLACEMENT: 

Arts Radar (Sam Hawker). 

4. 





Wedding, Removed, Attempts on Her 

Life. 


Removed. 

AS DIRECTOR: 


6. 

5. 

“I enjoy performance that is 

highly visual and meticulously 

prepared. Watching an actor 

breathe, an operator press a 

button, or a FOH staff member 

close the door as the show 

begins are favourite things. 

The story I absorb in the 

theatre is not necessarily 

the plot, but the story of 

entertaining, the workings 

of an art form. Real theatre 

begins for me when 

something goes wrong – 

watching a company work 

together to silently and 

discreetly deal with an issue 

while continuing to entertain. 

I view the world empirically, 

and I view my theatre the 

same way. I love the world 

that exists around me, and 

I believe we can use the 

physical and the real to tell 

the stories of our lives.” 

////////////// 

JESSICA 

WALLACE 

////////////////////////////////////////////////// 

THE STORY I ABSORB IN THE 

THEATRE IS NOT NECESSARILY 

THE PLOT, BUT THE STORY OF 

ENTERTAINING, THE WORKINGS 

OF AN ART FORM. 

” 

///////////////////////////////////////////////////// ///////////////////////////////







1. 1. 2. 2. 3. 

4. 







///////////////////////////////////////////////////////////////////////////////////// 

ASHLEIGH WELLS 

SYDNEY, NSW 

19 

EDUCATION: 


PLACEMENT: 

Stellar Sound. 





4. 

AS LIGHTING DESIGNER: 

The Rabbits. 

AS AV DOCUMENTARIAN: 


5. 

6. 

///////////////////////////////////////////////////// 

WE TEND TO APOLOGISE FOR 

THE DIRTINESS OF OUR SOCIETY. 

I WANT TO CHANGE THAT. 

” 

///////////////// 

ASHLEIGH 

WELLS 

///////////////////////////////////////////////////// /////////////////////////////// 

“At AADA, I discovered the 

art of voice over and enjoyed 

the physical and vocal 

transformation required for 

extreme character work. 

I want to be a part of 

something that makes a 

difference. I want to do 

something that’s bold and 

dangerous. I want to help 

others discover their full 

potential while being the 

best that I can be. 

I think verbatim theatre 

and any type of confronting 

theatre are always pushed 

to the side where people can 

forget about the ‘big issues’. 

We tend to apologise for the 

dirtiness of our society. I 

want to change that.”

1. LYSISTRATA 


2. REMOVED 


3. LYSISTRATA 


4. LYSISTRATA 


5. LYSISTRATA 


6. LYSISTRATA 


1. 2. 3. 

////////////////////////////////////////////////////////////////////////////////////// 

SOSEH YEKANIANS 

TEHRAN, IRAN 

29 

EDUCATION: 




PLACEMENT: 

Griffin Theatre Company. 


Blackrock, Because You Are Mine, 

Our Country’s Good, The Matchmaker, 

Lysistrata, Removed, Attempts on Her 

Life. 

AS DIRECTOR: 

The Question. 

AS ONLINE MARKETER: 


4. 

6. 

5. 

“I enjoy watching and 

creating theatre that is 

brave, honest and notorious. 

As Australians, we are 

apathetic to certain topics, 

and there are particular 

stories we’ve conveniently 

not cared for, such as 

our neglect for the issues 

surrounding racism and 

cultural diversity. Through 

my work as a theatre maker 

I hope to bring to light these 

themes and communicate 

to audiences the stories of 

today. 

I want to send society a 

message that will challenge, 

educate, and affect the way 

we live our lives. As one 

of my great mentors and 

teachers, David Mamet, 

once said, ‘Every reiteration 

of the idea that nothing 

matters debases the human 

spirit’, and that is why I 

promise to uncover and tell 

these stories.” 

//////////////////// 

SOSEH 

YEKANIANS 

////////////////////////////////////////////////////// 

I WANT TO SEND SOCIETY A 

MESSAGE THAT WILL CHALLENGE, 

EDUCATE, AND AFFECT THE WAY 

WE LIVE OUR LIVES. 

” 

///////////////////////////////////////////////////// ///////////////////////////////

ABOUT THE 

BACHELOR OF 

PERFORMANCE 

//////////////////////////////////////////////////////////////////// 

The Bachelor of Performance offers 

a unique education for the Actor 

/ Creator / Producer. It provides a 

broad undergraduate pathway to the 

dynamic world of independent theatre. 

Its core value is an understanding 

that the contemporary theatre artist, 

whether onstage or off, is seeking to 

realise a great idea in theatrical time 

and space. The traditional study of 

acting alone is bound to fall short of 

this goal. 

Over the past decade, public 

universities across Australia, with few 

exceptions, have turned their backs 

on the performing arts and converted 

the humanities into “general studies”. 

The demise of several theatre and 

music programs in public universities 

around Australia provided a call to 

action for the private sector to fill a 

gap in the cultural landscape. 

In 2007, Andrew Davidson was 

appointed Head of AADA and 

proposed, “that contemporary 

theatre training be allowed to thrive 

in a secure educational environment 

of nurture and respect, genuinely 

connected to the practices 

and practitioners of Australia’s 

independent theatre scene; that 

emerging generations of theatre artists 

be offered a space in which to gain 

skill, to explore, to create, to debate, 

and to innovate.” 

The Australian Academy of Dramatic 

Art (AADA) now provides that space 

as a department of the Australian 

Institute of Music (AIM). In 2007 - 08, 

with the support of members of the 

theatre and education communities 

across Australia, AADA developed 

and submitted the Bachelor of 

Performance degree for accreditation 

to the NSW Department of Education 

and Training (DET). In 2009, AADA 

welcomed its first intake of Bachelor 

of Performance candidates 

In 2011, the first group of Bachelor 

of Performance graduates will head 

toward new creative horizons. Their 

training in performance skills and 

practice, as well as tools for creating 

and producing, will empower them 

to make fresh and fearless work. 

Additionally, their training straddles 

artistic disciplines, encourages crosspollination, 

embraces the unknown, 

and has the potential to form hybrid 

understandings across the arts.

AUSTRALIAN INSTITUTE OF MUSIC 

www.aada.edu.au 

////////////////////// 

“Thoughtful and 

comprehensive. 

I firmly believe 

Sydney needs 

your new course.” 

John Bell, 

Artistic Director 

Bell Shakespeare 

Company 

////////////////////// 

AUSTRALIAN 

ACADEMY OF 

DRAMATIC ART 

HEAD OF AADA 


VOICE 

COORDINATOR 


PLACEMENT 

COORDINATOR 

Margaret Spilllane 

MAIN CAMPUS 

1 - 51 Foveaux St 

Sydney NSW 2010 

PILGRIM THEATRE 

262 Pitt St 

Sydney NSW 2000 

P. 9219 5444 

F. 9219 5454 

info@aada.edu.au 

www.aada.edu.au 

AUSTRALIAN ACADEMY OF DRAMATIC ART

dramatic art graduating - Australian Institute of Music

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