Daniel Evans is a writer, director, and producer who has worked across Australia in theatre, festivals, print and television. His theatrical work is about new mythologies for unreliable futures. Inspired by Pop culture, spurred on by the blur between performer-spectator, Daniel forges worlds that are ridiculously heightened, and strangely familiar, but not without heart.
Together with Amy Ingram, he founded The Good Room; a performance collective exploring themes of memory, yearning and embarrassment inside of a theatre where the domestic is made epic and the small, infinite. He has worked as the Co-Director of the National Young Writers’ Festival, a five-day event as part of the emerging and experimental arts mecca This Is Not Art in Newcastle and as the Performance Program Manager at Metro Arts. He currently teaches in the Applied Theatre Department at Griffith University and works as a Producer on the Channel Nine reboot of Big Brother for Southern Star Endemol and is a contributor to frankie Magazine.
A co-founder of The Good Room, and co-creator of their current body of work, the We Want To Know Triptych, Amy Ingram graduated with an Acting Degree from the University of Southern Queensland in 2004. Since then she has worked as a producer, director and performer across Australia and in New York.
Amy has performed in professional productions and taught performance workshops for Queensland Theatre Company, LaBoite Theatre Company and Shake and Stir Theatre Company. In 2010 Amy received a Matilda Award for Best Emerging Artist for her performances in The Good Room’s Single Admissions and Queensland Theatre Company’s Fat Pig.
In 2014 Amy was the recipient of an Arts Queensland Independent’s Fund to travel to New York to continue further study at The Lee Strasberg Institute and complete an Internship with Elevator Repair Service.
Recent productions include La Boite’s The Tragedy of King Richard III, Elbow Room’ s We Get It (Melbourne Theatre Company Neon Program) and Queensland Theatre Company’s Production of The Seagull for the 2015 Brisbane Festival.
Kieran Swann is an artist, curator, and producer; working in performance and visual art. His work investigates memorial practice, queerness, performance and bodies as archives, and strategies of co-creation, meaningful engagement of the audience, or at least displacing the usual audience/artist relationship.
His work has received acclaim on a national level, for projects with Next Wave, Conical Inc, Punctum, Firstdraft, Bus Projects, Seventh Gallery, Queensland Theatre Company, Metro Arts, Melbourne Fringe, Linden Gallery, Kings Artist-Run Initiative, inbetweenspaces, and Brisbane Powerhouse. ABC Radio has described his work as “nothing short of brilliant”, and RealTime has noted him a “fabulous liar in a mundane world”.
Kieran is a regular collaborator of The Good Room, and half of McCarthy-Swann Projects. He has worked with Portland Institute for Contemporary Arts, Performance Space 122, Danspace Projects, Venice International Performance Art Week. He has held positions with Theatre Network Australia, Metro Arts, and fortyfivedownstairs. Kieran is a graduate of Wesleyan University’s Institute for Curatorial Practice in Performance, Victorian College of the Arts, and Queensland University of Technology.
Lauren Clelland is a Producer, Production Coordinator and Creative who works with various small to large-scale multi-art form festivals and events around Australia. Currently the Operations Manager at Next Wave, Lauren’s previous festival management roles include Associate Producer for Melbourne Fringe (2015), Production Manager for the Emerging Writers Festival (2015), Producer – Theatre Republic for Brisbane Festival (2014), Venues Manager for Melbourne International Film Festival (2013), Production Manager – Urban Chamber Beyond for Outer Urban Projects/Melbourne Festival (2013) and Site Front of House Manager for The Garden of Unearthly Delights/Adelaide Fringe (2012 and 2013).
A Co-Deviser on I Want To Know What Love Is (The Good Room, Queensland Theatre Company, Brisbane Festival 2014, Brisbane Powerhouse 2015), and I Just Came To Say Goodbye (The Good Room, Brisbane Festival 2017), prior to this Lauren has instigated or collaborated as a Curator/Deviser on projects including I Don’t Think This Is Happiness (Metro Arts, 2012), Where We Begin (Under the Radar, Brisbane Festival 2011) and CROSSSTITCH: No Pluto, Just Stars (Metro Arts, 2010).
With extensive experience in Front of House Management and Production Coordination, Lauren has worked in operations for organisations including Brisbane International Film Festival, Melbourne Fashion Festival, Great Big Events, Adelaide Fringe and the Melbourne Symphony Orchestra. She also holds a Bachelor of Creative Industries (Drama) degree from Queensland University of Technology.
Caroline has worked over the past 18 years as an actor, performance maker, director and teacher. Her repertoire of original theatre works has been dedicated to developing innovative performance, whilst studying a training methodology and philosophical practice with Brisbane based company Frank Theatre specializing in avant-garde theatre. Within a 10 year period, she trained under specialist teachers Ellen Lauren (NY), Tadashi Suzuki (Japan) & Anne Bogart (NY), and travelled extensively to Japan to attend international theatre festivals and seminars from renowned directors such Robert Wilson.
As a performer/co-director, she has worked on many creative developments with freelance companies and collaborated with several specialist performers having also co-founded the comedic movement based group The Brides of Frank. Caroline has directed several shows at Universities and, as a teacher has trained students of acting, directing and opera for colleges and universities nationally. Recent years have seen Caroline embark on several projects as actor, director and co-creator, most recently Motherland (Metro Arts’ FreeRange 2010/2012 & Season of the Independents 2013, co-presented with Ellen Belloo) andLoco Maricon Amor (Metro Arts’ Season of the Independents 2012, co-presented with The Danger Ensemble).
Caroline has extensive screen appearance, on both Australian and British television. From 2003–2006 she sat as a board member for the Queensland Theatre Company.
Lawrence English is a composer, media artist and curator based in Australia. Working across an eclectic array of aesthetic investigations, English’s work prompts questions of field, perception and memory. He investigates the politics of perception, through live performance and installation, to create works that ponder subtle transformations of space and ask audiences to become aware of that which exists at the edge of perception.
He is the director of the imprint, Room 40, started in 2000.
Jason Glenwright is a highly sought after award winning lighting designer with just under 200 productions to his name. Over the last decade he has collaborated alongside many industry leading artists at companies including Bell Shakespeare, Griffin Theatre Company, Queensland Theatre Company, La Boite, Queensland Conservatorium, Dead Puppet Society, JUTE, Harvest Rain, shake & stir, Expressions Dance Company and Zen Zen Zo to name a few.
In 2014, Jason was awarded a Gold Matilda Award for his 2013 Body of Work. Over the last eight years, five of Jason’s lighting designs have been nominated for Matilda Awards including; Harvest Rain’s productions of A MIDSUMMER NIGHTS DREAM in 2008, PETER PAN in 2009, SONGS FOR A NEW WORLD in 2010, QMF’s production of DRAG QUEENSLAND in 2011 and shake & stir’s production of DRACULA in 2015. Jason was also Matilda nominated for Best Emerging Artist in 2009. In 2010, 2012 and 2013, Jason Won Groundling Award’s for Best BODY OF WORK. Jason has also received nine Del Arte Chart awards for Best Lighting Design over the last seven years.
Leah is an Australian performance maker, choreographer and chameleon with a passion for the surreal, the subversive, and the absurd. Originally dance-trained, she has a diverse performance background which has seen her tour internationally to the US, Canada, Europe, UK, Japan and South Pacific. Her work has taken her from rigorous physical theatre in Japan to the variety world of Las Vegas, and she cut her teeth playing mad, powerful heroines with Frank Theatre and making pop-satire works with The Brides of Frank.
Leah is Co-Artistic Director of the high camp neo-tiki dance theatre company Polytoxic, with whom she has created and toured works including the live-art karaoke experience The BackUp Service, site-specific watertop projection work Trade Winds, mongrel tiki-circus show The Rat Trap and rose-coloured travelogue Teuila Postcards. She also co-founded the satire-dripping physically stylized female outfit The Brides of Frank, and spent over a decade working in the intense Suzuki Actor Training Method. She has worked with companies including PVI Collective, The Good Room, Phluxus2, Frank Theatre, Lala Parlour, Superhero Clubhouse (NY), SITI Company (NY) and Spiegelworld (USA).
As a solo artist, Leah creates physical work that is highly visual and rather strange. Her adoration of design, illusion and the darkly absurd has seen her squash her whole body inside a suitcase, die onstage at least 132 times, train with SITI in New York, and tour throughout Holland and Belgium as a guest performer with the divas of La La Parlour. In 2014 she undertook a year-long contract in Spiegelworld’sVegas Nocturne, a variety show based in the prestigious Cosmopolitan Hotel in Las Vegas, USA.
Nathan Sibthorpe is a contemporary performance-maker and AV Designer. He was previously Queensland Theatre Company’s Geek-In-Residence in 2012-14; the Festival Director of Short+Sweet Queensland from 2013-16; the Creative Director of Markwell Presents Cinematic Theatre Company from 2016-18; and an Australia Council JUMP artist in 2012. Nathan is currently the Director of Counterpilot Transmedia Performance Collective, and a member of the Matilda Awards judging committee.
Notable works as a performance-maker include: Crunch Time (Metro Arts & Next Wave Festival, 2018); Spectate (Metro Arts, 2017); and Tyrone & Lesley in a Spot (Queensland Cabaret Festival, 2016). As an AV Designer, credits include: Blue Bones (Playlab Productions, 2017); Wireless (Lisa Wilson Projects, 2017); and He Dreamed a Train (Brisbane Powerhouse, 2014-17). Nathan received a Matilda Award for Best AV Design (Blue Bones, 2017), and was the first recipient of the Dr Don Batchelor Award for Drama Research at QUT (Spectate, 2017). Nathan teaches performance studies at QUT, where he holds a Bachelor of Fine Arts with distinction, and a Masters Degree (practice-led research) in contemporary performance.