Marketing Info &
Requirements
1. TEXT REQUIREMENTS
Production Title
Company/Artist Name For
the headline credit
Short description/
strapline
Lake
By Lisa Wilson
Toured by Performing Lines for Road Work
A human story of destruction and renewal.
Bold in its vision and deeply evocative, Lisa Wilson’s Lake literally floods the
entire performance area to grapple with our fascination and our fear of water.
Description – 120 words
Text for venue brochures,
flyer, program guide listing
Serene. Calm. Haunting. Menacing. This work reflects on the journey of a
relationship, evoking its path from sparkling reflection to murky depths; from
intense beauty to chilling isolation, to utter wilderness and our deepest sense of
our selves within the world.
Lisa’s widely acclaimed independent production, Lake delivers stark captivating
theatricality in what is acknowledged as a major new Australian dance theatre
work.
Bold in its vision and deeply evocative, Lisa Wilson’s Lake literally floods the
entire performance area to grapple with our fascination and our fear of water.
Description – 250 words
Text to be used for
working up a press release
Serene. Calm. Haunting. Menacing. This work reflects on the journey of a
relationship, evoking its path from sparkling reflection to murky depths; from
intense beauty to chilling isolation, to utter wilderness and our deepest sense of
our selves within the world. Lake beautifully plays with the light and depth of
water, its innate movement and total stillness, to explore the primal
undercurrents in human relationships in this visually stunning work.
Set on a stage in flood, Lake merges contemporary dance, video and sound to
create an immersive experience with startling visual impact. Bruce McKinven’s
stark and broody design and Wilson’s skillful and intimate choreography draw
attention to the inherent qualities and contradictions of water.
Wilson’s widely acclaimed independent production, Lake delivers stark
captivating theatricality in what is acknowledged as a major new Australian
dance theatre work. Exhilarating and evocative, the latest creation from
renowned choreographer Lisa Wilson reminds us what it is to be human.
About the company – 250
words
Lisa Wilson - Choreographer
Lisa Wilson is an independent artist, with a twenty year international career,
working as director, choreographer, performer and educator. She is focused on
pursuing her own choreographic vision to create distinctive and original
performance works which layer striking visual design, powerful yet intricate
physicality and a sense of the human condition. Her body of work moves across
genres having created for theatre companies, opera, large scale instillation work,
multimedia performances, company commissions and independent productions.
In 2011 Lisa was awarded the Hephzibah Tintner Choreographic Fellowship,
enabling her to work with the Australian Ballet, Sydney Dance Company and
Opera Australia. Lisa’s choreographic credits include: Lake (Judith Wright Centre
of Contemporary Arts), Elbow Room (Brisbane Powerhouse), Sydney Dance
Company, Queensland Theatre Company, The Australian Ballet, Queensland
Ballet Company, Dance North, Expressions Dance Company, The Place Theatre
‘Resolution!’ (UK), Rambert Dance Company’s Education Department with the
English National Trust (UK), QUT’s Dance and Drama departments, Ausdance
Queensland’s Belltower ll series and the 2008 World Dance Alliance.
2013 will see Lisa work alongside director Lindy Hume as assistant director and
choreographer on Opera Queensland’s production of Cinderella. She will also
lecture and create a new work for QUT Dance and continue work on Wi-Fi, a
new intermedia dance theatre work in collaboration with composer Paul
Charlier, as part of a Fresh Ground residency at the Judith Wright Centre of
Contemporary Arts.
Lisa’s diverse performance career has seen her work with renowned
choreographers and companies throughout Australia and the United Kingdom.
Lisa has performed in festivals and theatres in Japan, Vietnam, the United
Kingdom, Austria, Switzerland, Singapore, China, Germany, Mexico, New
Caledonia and the U.S.A. www.lisawilson.com.au
Devised
Lisa Wilson
Directed
Lisa Wilson
With
Timothy Ohl
Kristina Chan
Hsin-Ju Chiu
Composed by
Dramaturge
Design
Lighting Design
Video Producer
Matt Cornell
Jennifer Flowers
Bruce McKinven
Jason Glenwright
Chris Golsby
Artist Credits to appear on
promo material
“Don’t think you need to be a dancer to appreciate this work. You just need to
be human.’’ Xanthe Coward, XS Entertainment
Review Quotes
3 please
“Incredible...I’ve never seen a dance piece like it....mesmerising”
Doug Kennedy , ABC Radio
“Wilson has broken new ground in Lake”
Denise Richardson, Dance Australia
Production History
Acknowledgements/Logos
– short version
For venue brochures,
flyers Funding &
commissioning credits that
need to be on marketing
material – not full list of
thank yous for show
program
Judith Wright Centre of Contemporary Arts- July 11-14th 2012
(5 performances)
Toured by Performing Lines for Road Work, with the support of the Australian
Government through the Australia Council, its arts funding and advisory body.
Lake is supported by Queensland Government through Arts Queensland, part of
the development of the Department of Science, Information Technology,
Innovation and the Arts.
Lake was developed with the support of Judith Wright Centre of Contemporary
Arts, a Queensland government initiative operated by Arts Queensland.
Logos: Performing Lines, Road Work, Judith Wright, Australia Council,
Queensland Government
Acknowledgements/Logos
– full version
AS ABOVE
For program
Warnings EG smoking,
hazer, nudity, language etc
Duration
Age recommendation
Website, Facebook Page
etc if suitable for inclusion
in promo material
60 minutes
12 and over
www.lisawilson.com.au
www.facebook.com/PerformingLines
www.performinglines.org.au
https://www.facebook.com/LakeJWCOCA?fref=ts
2. FILES: IMAGES, LOGOS & OTHER ATTACHMENTS
All content and resources available at:
Direct links also included below.
Images & Logos
Image Credit
Youtube/Vimeo or MP4
Video
IMAGES & LOGOS:
https://www.dropbox.com/sh/qgtfj8vvrwvwlcj/fWlJRmEIzI
Fen-Lan Chuang
http://vimeo.com/50966024
https://www.dropbox.com/sh/qgtfj8vvrwvwlcj/fWlJRmEIzI
Dance Australia by Denise Richardson
18 July 2012
Lake by Lisa Wilson
Selected Reviews
Lisa Wilson, formerly a dancer (most latterly with Expressions Dance Company),
is now carving out a solid career as an independent choreographer, winning the
Hephzibah Tinter Choreographic Fellowship in 2011, which subsequently led to
work with the Australian Ballet, Sydney Dance Company and Opera Australia.
Lake is Wilson’s first full-length work.
Lake’s gestation has been sporadic over several years, with a couple of interim
showings, supported in turn by Ausdance (Queensland), Raw Dance, and a
Creative Sparks grant from the Brisbane City Council. This premier season was a
co-production with the Judith Wright Centre of Contemporary Arts.
The work’s title is more than metaphoric, as Wilson actually creates a “lake”,
filling the entire stage, in which to situate the performance. This large square
pool of water, maybe 6cms deep, is part of a brooding set design by Bruce
McKinvin, where overhanging branches and root systems, with back projections
by Chris Golsby and lighting by Jason Glenwright, combine to evoke a damp,
swamp-like atmosphere.
Wilson is intrigued by the concept of water as a reflection of human emotions
and, wanting also to examine our fascination and fear of the substance, has used
it to embed her exploration of the tension underlying relationships, in this case
of a couple, played by Wilson and Timothy Ohl. The third member of the cast,
Hsin-Ju Chiu, according to Wilson, represents the symbolic underwater “muck”,
which effectively helps expose the tensions in the relationship.
The playful physical banter of the opening sequence, as the couple enjoy a quiet
evening around the campfire, is performed in silence, save for the sound of
birds. A delightful soft shoe send-up of “Singing in the Rain” by Ohl heightens an
underlying tension, as we are already aware of Chiu lying hidden in the water.
Gradually we see the relationship break down, as the setting also descends into
a murky gloom, the water ominously muddy looking. A series of solos, duets and
trios explore the developing tension between the couple, ending as Chiu is
eventually heaved out of the water by Ohl, in a final resolution of the conflict.
Wilson has broken new ground in Lake, while still fitting within the dance
theatre paradigm. Although the movement vocabulary on its own may not be
that innovative, its very grounded and sometimes thrashing quality is given a
new dimension performed in water. There is also a further visual texture as
water droplets arc through the air, and aural texture as the splashing and
swishing give the movement “voice”.
Dramatically, the use of water also succeeds in heightening the sense of menace
and foreboding. When Ohl drags the inert body of Chiu through the water it
brings to mind recent local crimes involving water, while it seems an inert body
lying half submerged can still “scream” volumes.
However, the work tends to lack momentum in the middle section, and could be
edited. The rhythm or metre of the movement at times seems too measured,
particularly in the fight scene between Wilson and Ohl. This is not helped by a
soundscape (Matt Cornell) that often fails to support the drama and the dance.
A sequence where Wilson dances among floating bubbles, for instance, has a
quite sappy accompaniment, seemingly out of context with the rest of the work.
The three performers are all seasoned artists. Ohl is very easy to watch, a
relaxed but self-assured performer, and Chiu is very much at home in this dance
drama milieu. Wilson, the veteran at 42, says she is finally hanging up her shoes
after this season to concentrate on creating. Hopefully she will be rehearsing a
replacement, because with some minor tweaking this show should have very
resilient “legs”.
http://www.danceaustralia.com.au/review/lake-choreographed-by-lisa-wilson
RealTime by Kathryn Kelly
October 2012
Survivors Of The Deep
Lake is the second major work from lisa wilson, the brisbane-based
choreographer and hephzibar tintner foundation choreographic fellow. Wilson
wanted to “delve into our fascination with and fear of water…and what lies
beneath when we ‘break the surface tension’ of a relationship.”
Lake opens with the sounds of water, then breath. A young woman rises, her
hands grasping, flexing, tense. Is she drowning? Willows trail onto the square,
ankle-deep pool that is framed by bare stage on all sides. The cold night breaks
into day. The ghostly willows morph into a hyperreal projection of a white gum
swamp. A couple arrives, camping chairs in hand. The lurking woman watches.
There is a playfulness and personal authenticity to the work created by Wilson’s
dual role as choreographer/performer. Her performance as the coupled woman
anchors the naturalism of the choreography where the vernacular gesture, a
touch on the knee, a cuff on the arm, become starting points for movement
sequences of genuine virtuosity.
Night falls and the mood darkens. The couple is lured into the lower depths by
the watching woman. Her body reflects their relationship to the water: she is
manipulated, thrown, rejected, embraced, a force of enticement and menace.
The complicity between the performers is palpable, with barely a pause before
each collision of bodies. The naturalism of the back projection is fractured by
interloping sequences of graphic animation, filmed bodies under water and the
watching woman’s first solo in shadow.
The performance crescendos steadily, with the three dancers crashing against
each other with a shark feeding frenzy. The young woman is expelled from the
pool gasping. There is a moment of breath, an interlocking gaze between the
couple and then darkness.
Watching the moment of expulsion had all of the pleasure of a traditional
narrative. The relationship under pressure survived, the unspoken fear was
expunged and a journey to the depths was completed. Lake moved seamlessly
between abstraction and naturalism because of the clarity of its structure and
the sense that the rationale had been fully investigated and supported by the
design. The lighting was so delicate it melted into the restrained and elegant set,
which was dominated by the ominous black rubber-encased pool.
There were only a few moments of rupture: one too many trick props at the top
of the show, a bubble-blowing sequence towards the end. These demonstrated
how easily accessible dance theatre can descend into pantomime, suffering from
a lack of politic or explosive power. But Lake was beautifully controlled and
paced. There was a surprising inevitability about the shifts in emotional tone, the
transformations within the design and the movement from vernacular
choreography to a furious and ritualistic play where the spumes of refracted
water became almost as beautiful as the powerful bodies carving their way
through the liquid’s opaque surface.
Dance seasons are heartbreakingly short but Lake has the potential to be a true
crossover dance theatre work. I hope it has another life.
Lake, director, choreographer, performer Lisa Wilson, performers Timothy Ohl,
Hsin-Ju Chui, dramaturg Jennifer Flowers, designer Bruce McKinvin, lighting
Jason Glenwright, sound designer, composer Matt Cornell, video producer Chris
Golsby Performance Space, Judith Wright Centre of Contemporary Arts,
Brisbane, July 11-14
http://www.realtimearts.net/article/111/10833
XS entertainment by Xanthe Coward
14 July 2013
In 2010 at The Powerhouse, after 3 years of work on the piece, Lisa Wilson’s
widely acclaimed Elbow Room premiered. In February of this year, her original
work Crush was shown. For this week only at the Judith Wright Centre, we have
been able to dive into Wilson’s exploratory work about human relationships,
Lake.
The final performance of Lake is tonight at 7:30pm. It’s a 60 minute show.
You’ve got time to go. Book online.
Don’t think you need to be a dancer to appreciate this work. You just need to be
human.
Exploring the depths of our darkest emotions, Lake is comparatively accessible
contemporary dance. Of course the novelty is “the lake” itself, which works
wonderfully, informing the execution of the movement and obviously, earlier, its
development. The first ten minutes draw us in with some delightful comedy
(Timothy Ohl’s easy entrance is superb, giving us an immediate sense of the
freedom and simple joys of young love) and we enjoy the gradual realisation of
intimacy and clever interplay between the couple, as well as a gorgeous
sequence performed by Ohl, from Singing in the Rain (sans umbrella). Oh, and
we’re skimming phones now, not stones. Who knew?! It’s nothing less than an
extraordinary, surprising opening series of seemingly inconsequential events,
containing some of the most upbeat moments of the show. Savour these. You’ll
need them, like the memories you hold onto, of the last sunny, happy days spent
with the one you love most, for when the going gets tough and the rain seems
never-ending.
But let’s not get ahead of ourselves. Before things go bad, there is love. There is
always love…in the beginning.
An unlikely couple (Lisa Wilson and Timothy Ohl) rock up to a favourite spot (a
stunning design by Bruce McKinvin, perfectly combining the tangible set and the
projected images); a body of water surrounded by trees and the sounds of local
birdsong by day and insects by night. Prefacing this, unbeknownst to them, we
the audience, already mesmerised by the expanse of water on the stage, have
witnessed the frenzied dance of a water spirit or some such other-worldly
creature (how long had she been lurking there in the dark?), in either an ecstatic
or exorcised state, before she retreats to the shallows to hide and watch the
couple from underneath the hanging branches of the trees overhead (Hsin-Ju
Chiu). There is immediately a sense of mystery and foreboding, like in Jindabyne
(or more accurately, within the short story by Raymond Carver, which inspired
the film), because we know what will happen. We know what has always
happened.
Or do we? There is an element of the original Japanese horror films and, more
specifically, perhaps the best known contemporary interpretation of the genre,
The Ring, rather than anything more distinctly Australian. (Warning: Just in case,
like me, you can never watch any version of The Ring again, resist clicking on
those links!). But the dread I feel is misleading and no one dies an actual death.
We see the early phase of the relationship; the play-fights, the frequent fun sex,
the fine line between pleasure and pain that only leads to later confusion… this
relationship is so familiar! We see, one day, the beginning of the end. You know
that day. We’ve all been there, to that very still, very dark body of water, where
something (or someone) is waiting. Neither is getting what they need so there is
anger, resentment and blame, where once there was love. We continue to hurt
and be hurt and to forgive and be forgiven because there is still, despite
everything that is being destroyed along the way, some degree of love. Or
obsession. Or something.
But the slight disagreements turn into heated arguments, which turn into violent
fights and finally, someone is hurt beyond measure. Each destroys everything
the other creates or cares about.
Her fun, her play, is captured for a moment for us, within a dreamy world of
glistening, floating, falling rainbow-infused bubbles, which he bursts for fun. It’s
not a vindictive action; it’s just his fun. She doesn’t understand why he would do
such a thing. It’s a small, irritating thing. It’s just one thing. Does it matter? Can
she put up with it? For how long? How many times? Next, he crafts a perfectly
folded paper boat and pushes it across the water towards her. I think of the onelegged Tin Soldier, from the fairy tale, standing in his little paper boat as he
travels down the gutter and out to sea, far away from his one true love, the
paper Ballerina, with whom he’ll eventually perish. But I digress. She leaves the
boat for a moment, looking at it and letting it become waterlogged before she
picks it up and crushes it, later tearing it into tiny pieces that litter the lake’s
surface for the remainder of the performance. (“He loves me, he loves me not.”
Or should that be, “I love him, I love him not…”). It’s just not fun for her. They
seem to be killing each other softly. Perhaps she will die!
The dancers, all three, are performance (fighting) fit and their movement is
strong, fluid and balanced. At times it’s repetitive, just as the patterns of a longterm relationship are. In fact, a number of motifs and sequences are repeated.
We witness increasingly aggressive acts of blame, hate, resentment, jealousy,
anxiety and despair, at first in front of us on stage and then played out on the
screen above the dancers. It builds the tension beautifully. In this video,
produced by Chris Golsby, there are no words uttered, just white, glowing and
slightly distorted silhouettes gesturing furiously and shouting where, in reality,
the couple stand at opposite sides of the lake, not speaking to each other. Not
knowing what to say.
The choreography and the impact of the AV element leave us with no doubt
about how the relationship is going, with neither one nor the other entirely at
fault for the breakdown in communication. In the way their bodies fit into each
other, wrap around each other and rely upon each other in balances and
counter-balances that then teeter and tip, the gradual dissolve of the
partnership is demonstrated.
The spirit in the water has had a major part to play, coming between them,
foiling their efforts to kiss and make up. She has always been there; an ominous
presence, at one stage almost seducing the man, at another almost killing him. Is
it all a dream? Is she actually the spirit belonging to that place or is she the deep
longing or foreboding – the distrust – in every one of us? She is everything that
makes us question why we are with a person.
The final motif, of the couple reaching for each other across the water, belies
any of the previous antagonism (but doesn’t let us forget it) and serves to close
the work with hope and finally, a sense of real forgiveness. This is our semihappy ending after the dramatic climax, during which the man, with all of his
great strength and determination, throws the dangerous spirit out of the water.
It’s symbolic and shocking, just for an instant. Well, she was evil, always coming
between them like that! Landing heavily outside of the designated performance
space, in the gutter, she is discarded, once and for all.
The three dancers moved in and out and rested between beautiful, evocative
lighting, in a design by Jason Glenwright; a study in light and shade, leading me
to wonder about a conversation we had once had, outside The Roundhouse, as I
recall, about creating work collaboratively with dancers that begins not with the
choreography but with the light. This lighting design is a step closer to that
vision.
We hear the haunting, challenging soundscape and original composition of Matt
Cornell. Sometimes it’s subtle, barely there and we hear only the birdsong,
insects and water. At other times it’s as if we’re in the basement of a nightclub,
below six floors of the latest trance tracks, with the bass so loud that I
remembered for a moment, dancing in the Grand Canyon during the wettest
Woodford Folk Festival ever (2010-2011), far too close to the speakers and
almost going deaf as Katzenjammer took to the stage.
This will likely be Wilson’s final performance. There is just 1 show remaining. See
it tonight, before she leaves it, re-casts her role in it and takes this stunning
piece around the world to challenge humans everywhere.
http://xsentertainme.wordpress.com/tag/lisa-wilson/
Kristina Chan- Performer
Over the past 14 years Kristina has performed throughout Australia, Canada, UK,
USA, Asia, Israel and Europe working with Australian Companies,
Choreographers and Directors: Force Majeure, Kate Champion, Australian Dance
Theatre, Garry Stewart, Chunky Move, Australian Ballet, Gideon Obarzanek, Lucy
Guerin Inc, Stephanie Lake, Sydney Theatre Company, Theatre of Image, West
Australian Opera, Opera Queensland, State Opera South Australia, Tasdance,
Michelle Mahrer and Bernadette Walong, Narelle Benjamin, Anton and Tanja
Liedtke. Currently Kristina is exploring her own choreographic work. In 2011 she
presented a short solo work Carnivorous at Solo Festival of Dance and Lost and
Found as a part of iOU Dance at UNSW and then presented in Spring Dance
Festival 2012 at the Sydney Opera House. iOU Dance is a performance initiative
for a small group of Sydney based Independent dance artists. In September
2012, Kristina premiered her 1st full length work Kingdom Mourning for 3rd year
students at Adelaide College of the Arts. Kristina has been awarded the
Helpmann Award 2011 ‘Best Female Dancer in a Dance or Physical Theatre
Production’ for Narelle Benjamin’s In Glass and two Australian Dance Awards
'Outstanding performance by a Female Dancer’ for both of Tanja Liedtke’s full
length works: 2006 for Twelfth Floor and 2008 for construct.
Bios and more info
Timothy Ohl - Performer
QUT trained, Timothy has been performing professionally for over 13 years. He
has worked with Australian Dance Theatre, Force Majeure, KAGE Physical
Theatre, Shaun Parker & Co, Lucy Guerin Inc, Meryl Tankard, Legs on the Wall,
Strings Attached, Strut & Fret, Theatre of Image, The Song Company, Lisa Wilson,
Anton, Raw Metal, Opera Queensland, Opera Australia and Chunky Move
performing Stephanie Lake’s ‘Mix Tape’ – for which he received a 2010 Green
Room award. Timothy has choreographed a handful of short works performing
in Expressions Dance Company’s ‘Solo – Festival of Dance’ in Brisbane and iOU in
Sydney 2011.
Hsin-Ju Chiu – Performer
Hsin Ju Chiu is a QUT graduate and has worked at Dance North under Gavin
Webber on-Gravity Feed, The Sleeping End (Antony Hamilton), Underground,
Nightcafe 07, Remember Me and Nowhere Fast (Ross McCormack). She is
currently working as a freelance artist and has been involved in Gavin Webber’s
Rock Show, in collaboration with Australian rock band Regurgitator as part of
Q150 and Stalker Theatre Company’s large scale work Shanghai Lady Killer. In
early 2010, Hsin-Ju was invited to Austria to join Splintergroup for Festspielhaus
St.Polten’s Australia in Residence program and performed Remember Me and
Legless.
Matt Cornell has been engaged as a dancer, choreographer and/or digital
composer in work spanning live Contemporary Dance & theatre to gallery
installations, film, rock concerts, video clips, and street/performance art. Some
of these include: Gavin Webber at DanceNorth, Davis Freeman, Shaun Parker
and Company, Sara Black for Lucy Guerin Inc., Sarah-Jayne Howard for QUT,
Buzz Dance Theatre, Carlee Mellow, Marnie Palomares, Lisa Wilson, Anton for
WAAPA, Superstar Productions, Croc Fest., Resolution Design and Darwin
Festival, etc. Matt was recently a JUMP mentoree (under Antony Hamilton), a
danceWEB scholarship recipient and a HipHop artist in residence at the
National Film and Sound Archive constructing his debut solo album. 2012 saw
the creation of the S.I.K Bboy theatre show commissioned by Darwin Festival, a
UK tour with Shaun Parker and Company, a residency at Campbelltown Arts
Centre as well as various composition engagements.
Jennifer Flowers - Dramaturge
Jennifer Flowers is an acclaimed actor, director and teacher. She has worked
with all major theatre companies throughout Australia and has won significant
awards for acting and directing. Jennifer has worked most extensively with the
Queensland Theatre Company, Queensland Performing Arts Trust, Sydney
Theatre Company and Expressions Dance Company.
Bruce McKinven –Designer
Bruce has worked with Lisa Wilson previously designing Lake, Elbow Room and
Expressions Dance Company’s 2003 Sketches season. Bruce graduated from
QUT’s Visual Arts course in 1994 and NIDA’s Design course in 1997. In dance
Bruce has designed productions for Force Majeure, Australian Dance Theatre,
Expressions Dance Company, Tasdance, Queensland Ballet and Western
Australia Ballet, working with choreographers Kate Champion, Natalie Weir,
Garry Stewart, Brian Lucas and Clare Dyson. In theatre, Bruce has designed for
directors Neil Armfield, Wesley Enoch, John Bell, Michael Gow, Adam Cook, Chris
Drummond, Jon Halpin, Jean-Marc Russ, Scott Witt, David Fenton, Kate Gaul,
Leah Purcell and Marion Potts; working with companies including Company B
Belvoir, Bell Shakespeare, Queensland Theatre Company, La Boite, State Theatre
Company of South Australia, Black Swan State Theatre Company, Queensland
University of Technology, University of Southern Queensland, Australian Theatre
for Young People, Griffin Theatre Company, Jute Theatre and Hothouse Theatre.
Bruce has also worked in numerous production/design roles for the Adelaide
Festival of the Arts since 1994, most recently as Designer for the 2012 Writer’s
Week venue. Film credits include costume design for Leah Purcell’s AUNTY
MAGGIE AND THE WOMBA WAKGUN. In 2001, Bruce was awarded The Mike
Walsh Fellowship, enabling him to work with Dublin dance company Cois Ceim.
Jason Glenwright – Lighting Designer
Jason has practiced as a freelance lighting designer on more than 110 diverse
and highly acclaimed projects. These include: Bell Shakespeare, Queensland
Theatre Company, La Boite, Expressions Dance, Zen Zen Zo, 23rd Productions,
JUTE, Harvest Rain Theatre Company, Debase, Metro Arts, CIRCA, Backbone,
Queensland Shakespeare Ensemble and QUT among many others. Three of
Jason’s lighting designs have won Silver Matilda Awards and he has also won a
Silver Award for Best Emerging Artist 2009. In 2010 Jason was engaged with
Queensland Theatre Company as an Emerging Artist. Jason has also received 4
Del Arte Chart awards for best lighting design.
Chris Golsby- Video Producer
Chris has worked is the design industry for over 12 years across many media.
He has over 8 years experience in the European and US markets and a further 6
years in the Asia Pacific region. This international experience has given his
creative skills a unique and distinctive flavour. He has worked on small unique
projects through to multinational blue chip clients. His portfolio includes clients
such as: Jordan F1 Team, Fosters, Siemens, Disney, Raptis, Niecon, Juniper,
Oracle, KFC, Holiday Inn, Tourism Queensland, Clinique, Queensland Rail, Story
bridge Adventure Climb and FKP. Chris is an accomplished photographer with a
published portfolio in advertising and international press publications.