Flinders Drama Centre Graduates        


Rosalba Clemente

  Rosalba trained as an actress at N.I.D.A. She has performed for most of Australia's premiere theatre companies including Belvoir St Theatre, Sydney Theatre Company, Griffin, STCSA, Melbourne Comedy Festival,Performance Space, Bay St,Playbox, Entracte, Rokato and many more. She has appeared on film and televsion, most notably in GP, Police Rescue, Relative Merits, Poor Man's Orange and The Lacking. She performed two acclaimed and awarded one person shows written especially for her - Witchplay by Tobsha Learner and Spooltime by Alana Valentine. She has directed for major companies across Australia as well as for second tier, experimental and independent theatre making collectives such as Teatar di Migma and Rokato Productions. Rosalba has served nationally on many boards for theatre companies and arts finding bodies. More recently Rosalba has also begun to write for the theatre. Both her plays, Helly's Magic Cup and Disarming Rosetta have received notable productions with Windmill/ Adelaide Festival Centre and Hot House Theatre.

Tom Healey

  Tom is an experienced dramaturg and director. Directing credits include Let’s Get it On (room 8); Jumpers for Goalposts (Red Stitch); Doris Day – So Much More Than the Girl Next Door (Boldjack); Disarming Rosetta (Hothouse); Turns (CDP) with Nancye Hayes and Reg Livermore; Good Evening (Token) with Sean Micallef and Stephen Curry; Inside Out (CDP/Hothouse); Helpmann award-winning The Man In Black (Folsom Prison Productions); The Kid (Griffin); The Spook (Malthouse Theatre); The Shape of Things (Red Stitch and national tour); and Eddie Perfect’s solo shows, Drink Pepsi, Bitch (Malthouse, SOH, Edinburgh, Melbourne Comedy and Adelaide Cabaret Festivals) and Angry Eddie (Chapel off Chapel, Melbourne Comedy Festival).

Tiffany Lyndall Knight

  Professional stage, screen and voice actor. Credits include eight seasons with Bard on the Beach Shakespeare Festival (Vancouver Canada), lead and recurring television roles in Battlestar Galactica, Da Vinci's City Hall, Stargate SG-1 and Supernatural. Film credits include Red Dog, The Babadook, ANZAC Girls, Mothers and Daughters, Fido. Teaching experience includes AC Arts, University of British Columbia, Langara College (Vancouver Canada).

James Wardlaw


Renato Musolino

  Renato Musolino is a graduate of Adelaide’s The Centre for the Performing Arts (now AC Arts). In 2003 he undertook a Mentorship/Observership at The Actors Studio in New York City. For The State Theatre Company of SA credits include Othello, The Seagull (Adelaide Festival 2014), The Kreutzer Sonata (Adelaide Festival 2013), In the Next Room (Or the Vibrator Play), Three Sisters, The Zoo Story, The Misanthrope, Blue Orange, Mnemonic and King Lear. Other credits include The Comedy of Errors (Bell Shakespeare/STC), Rust and Bone (Griffin Theatre) Amadeus, Romeo and Juliet, Danny and the Deep Blue Sea and Carboni (Urbino Italy, Canberra Multicultural Festival and Eureka Week Ballarat). For Holden Street Theatres credits include What I Heard About Iraq, The Homecoming and Bash. For Flying Penguin Productions credits include Assassins and True West. Windmill Performing Arts credits include The Ballad of Pondlife McGurk and the World premiere of Helly's Magic Cup. Feature film credits include The Caterpillar Wish. ABC Radio National credits include Clark in Sarajevo , The Ruby, The Death of Napoleon, Blood on My Hands, Clerk Ascending and Joshua's Book. Renato lectures/tutors at AC Arts and Flinders University.

Genevieve Mooy

  Genevieve has been giving good voice to a whole range of applications over her performing career spanning 30 years or more. Her extensive stage film and television career has given her a breadth of experience that has been used for documentary drama, book readings, particularly childrens books, 'Are We There Yet' ABC, Training documentaries and her particular strength is her ear for comedy. Genevieve Mooy is known for her work on The Dish (2000), The Battle for Jericho (2019) and Emoh Ruo (1985).

Richard Back
Screen Acting

  Richard began his career in theatre and film in the early eighties, studying cinematography at university and working for theatre companies all over Australia on the technical aspects of performance. Since 1994 he has specialised in the interface between electronic and live performance firstly working in a creative partnership with Lisa Philip-Harbutt in their company d.pix images and later through projects associated with the Flinders University Drama Centre. He has worked with choreographers Graham Murray, Jonathon Taylor and Leigh Warren and with theatre companies including Vitalstatistix, Patch Theatre Company and Adelaide & Melbourne Festival on projects that integrate moving images with live performance. Richard worked with Mary Moore on The Masterkey presented at the 1998 Adelaide and Perth Arts Festivals and on the 2000 production Exile, which was presented at the Sydney Spring and Shanghai International Arts Festivals. He continues to work as a cinematographer, mainly in short films, and is currently co-Vice President of the Australian Cinematographers Society, South Australian Branch. He currently teaches screen acting at Flinders Drama Centre. 

Cameron Mackness
Screen Acting

  Cameron is a cinematographer/editor/director who began his journey studying Screen at Flinders University. After travelling extensively overseas, he completed an Advanced Diploma for Film & TV at ARTTS International in England. Cameron then spent the next 5 years working his way up from camera assisting to operating mainly in television drama, in the UK. His credits include The Bill, Family Affairs, Grange Hill, and various projects for the BBC and Channel 5. Upon returning to Australia he spent two years as a freelance camera operator, shooting everything from commercials to sport events, before landing a stint as the Commercial Director for Southern Cross Television in Port Lincoln. After two years in the country Cameron returned home taking up his current role in the Drama Centre at Flinders. As head of the Video & Film Dept. at Appel Farm Arts and Music in New Jersey, USA, and Judge and workshop provider for the “First Cut Film Festival” in Adelaide Cameron helped to nurture young talent.

Tait Muller

  Tait has worked in the television industry for 17 years, and in that time has written, directed and produced a variety of television programs. Recent credits include the Out of the Ordinary series for NWS9, SavvyTV for the TEN Network, plus a collection of vignettes for the ABC. Tait graduated from the Flinders University Drama Centre in 2003, with First-Class honours, and was awarded the inaugural Adelaide Bank Helpmann Academy Award. Since graduating, Tait has developed a number of projects for television and corporate interests, he has completed his fifth short film Fluffy Dice, and is currently collaborating with a writer on a feature length script.

Pat Wilson Voice/Singing
  Pat holds a Master of Applied Science degree (interdisciplinary singing research), the Graduate Certificate in Singing Pedagogy (Distinction), a postgraduate specialist qualification from the University of Western Sydney, and piano credentials. In addition to her private vocal studio, Ms. Wilson also teaches singing in the acting faculties of tertiary drama training facilities, such as the University of Western Sydney and the Actors’ College of Theatre and Television; currently working in the Drama Department, Flinders University, Adelaide, and in the Music Theatre undergraduate degree course at the University of Adelaide. She is a conference keynote speaker and regular presenter of master classes on vocal technique and performance for professional music theatre. Pat is also an Examiner in singing and piano for the Australian Music Examination Board (AMEB).

  Performer, choreographer, educator, director, mentor and manager, Carol trained at VCA and obtained a BA in Dance. She has thirty-three years of extensive professional performing, teaching and choreographic experience both Internationally and Australia wide. Carol danced professionally in Australia with 2Dance Plus (later Buzz Dance Theatre), Chrissie Parrott Dance Collective, WA Ballet Co. and Dance North. She freelanced in London – Performing, Teaching and Choreographing with artists and organizations including, Cie Velvet – Joanne Leighton, Claire Russ Ensemble, Green Candle Dance Company, English National Opera, Rambert Dance Company and Richard Alston Dance Company. (1992-1999) She was the Assistant Director for Garry Stewart and Australian Dance Theatre from 2000-2008. Carol's subsequent Freelance Artist: Performer for a variety choreographers including, Katrina Lazaroff and Lina Limosani, Rehearsal director for numerous Tasdance professional dance productions and Independent artists such as Larissa McGowan's Skeleton, Trisha Dunn’s Finding Centre. She was Choreographer for State Theatre Company of SA and Windmill Theatre Company Musical Theatre productions: Pinocchio and Rumplestiltskin, both of which have toured Internationally along with movement direction on many theatre plays and productions. Carol was Artistic advisor, Project manager and Workshop leader for Restless Dance Theatre and is a Movement Lecturer at Flinders University Drama dept and Adelaide College of the Arts Dance department.

Eileen Darley

  Eileen's experience in theatre and film performance spans 29 years. On graduating from Flinders University Drama Centre in 1983 she joined the Troupe Theatre ensemble, then Magpie Theatre Company, and was subsequently a long - term collective member of Red Shed Theatre Company. Her innumerable performances at Red Shed include Carthaginians, All Souls, Because You Are Mine, Frankenstein's Children, Dog Eat Dog, Sweetown and In Cahoots. Eileen has performed extensively for Vitalstatistix and Patch Theatre and for the Adelaide Festival Centre. Her feature film work includes performances as Amelia in Serenades and Shirley in Australian Rules. For State Theatre Company Eileen has appeared in The Misanthrope, Don's Party, Morning Sacrifice, Three Birds Alighting on a Field , Arabian Nights, Salt, Jonah and Carrying Light. Eileen also works as a singer, crossing the genres of folk, jazz and cabaret. She has performed in many music theatre pieces, including most recently Melissa Reeve's Tough Girls (Vitalstatistix), Rockin' the Boat (2009 Port Festival and 2010 Waterside) and A Night With the Flying Horses (2010 Adelaide Cabaret Festival) with Darley, Day and Tin Can Alley. 

Caleb Lewis

  Caleb is a multi-award-winning playwright whose work has been produced locally and internationally. His works include; Dogfall ; Death in Bowengabbie, Rust and Bone; Aleksander and the Robot Maid and Clinchfield (winner of the inaugural Richard Burton Award for new plays in 2010). Lewis was mentored by Nick Enright and Edward Albee. He has twice been shortlisted for the Griffin award and is the winner of an Inscription Award, the Mitch Mathews Award and an AWGIE (Australian Writer's Guild Award), and turned down the Company B Phiilip Parsons Award in 2010 as a protest against the lack of female writers and directors in the company's 2010 mainstage season. Current projects include a play about Godzilla and first love, a play about a sock, a play about honey bees and commissions for Bell Shakespeare, Black Swan and State Theatre Company of South Australia. His play, Death in Bowengabbie was presented at the La Mama Theatre as part of the 2013 Melbourne International Comedy Festival.

Corey McMahon
Guest Director

  Corey is a director, producer and dramaturg. He trained as an actor at the Flinders Drama Centre, graduating in 2006. He subsequently completed his Master of Creative Arts in Directing, also at the Drama Centre. In 2008 he formed the award-winning independent theatre ensemble five.point.one, with a focus on staging premiere productions of contemporary theatre previously unseen by Adelaide audiences. For five.point.one, Corey's directing credits include Osama the Hero (Dennis Kelly), The Under Room (Edward Bond), The Share (Daniel Keene), The Eisteddfod (Lally Katz), and That Face (Polly Stenham). Corey is committed to the development and production of new Australian writing for the stage; most recently he was director of Thieves by Kathryn Ash for the 2014 National Play Festival and directed the world premiere of Music by Jane Bodie for Griffin Theatre Company. In 2013 he was the director of the world premiere of Rust and Bone by Caleb Lewis for Griffin Theatre Company (2011 National Play Festival) and was dramaturg on The Real World, by Melissa Reeves. In 2011 Corey was both director and dramaturg on Little Borders , by Phillip Kavanagh. Little Borders was subsequently selected for Playwriting Australia's 2011 National Script Workshop and won the Patrick White Award in the same year. Corey was the director and dramaturg on the stage one development of This Place by Nina Pearce, which won the 2010 Jill Blewett Playwrights' Award. As assistant director his credits include Ghosts by Henrik Ibsen, Shoot/Get Treasure/Repeat by Mark Ravenhill and Holding the Man by Tommy Murphy (director: Rosalba Clemente, STCSA). Corey has worked for State Theatre Company of S.A., Paines Plough (UK), The Bush Theatre (UK) and has taught and directed acting students in numerous productions at Flinders University Drama Centre and Adelaide College of the Arts and University of Wollongong. In 2008, he was nominated for the Adelaide Bank Helpmann Academy Award and in 2009 he was awarded "Emerging Artist of the Year" by the Adelaide Critics' Circle for his work for five.point.one. His production of The Share won Best Drama (Professional) at the 2010 Adelaide Theatre Guide Awards, and he was also nominated for Best Individual Achievement for his direction of The Share by the Adelaide Critics' Circle. In 2011 his production of The Eisteddfod was nominated in the Best Ensemble category by the Adelaide Critics Circle.

David Mealor
Guest Director

  After graduating David worked extensively with Brink Productions on (Uncle) Vanya, Mojo, The Europeans, The Misanthrope, Roberto Zucco, A Dream Play, Blue Remembered Hills, The Ecstatic Bible, A Lie Of The Mind and The Caretaker. He toured with several Brink shows to the Sydney Theatre Company and Belvoir St Theatre as well as acting in the State Theatre Company's production of Killer Joe. In 2003, David did a period of informal study at Flinders University as a theatre director and in 2004 received a State Government grant to test his directing capacity through working with some professional actors on a script. The following year he directed his first production, Translations under the banner of Flying Penguin Productions. David and Flying Penguins has since gone on to produce The Birthday Party, the Adelaide premiere of Assassins at the Space, True West, Blackbird and The Dark Room.

Elena Carapetis
Guest Director

  Since graduating from NIDA, Elena has worked extensively as an actor in film, television and theatre. Elena Carapetis' first play The Good Son was produced by The Other Ones, a creative partnership between Elena and director Corey McMahon. It premiered with a sell-out season at the Bakehouse Theatre in 2015 and earned her an Adelaide Critics Circle Award as the writer. Her second play Helen Back was shortlisted for the 2012 Adelaide Festival Jill Blewett Award for Playwriting. In 2014 Elena directed second year actors in her own adaptation of Euripides' The Bacchae at the Adelaide College of the Arts. In 2007, Elena wrote an episode of Marx and Venus titled Bedroom Therapy, for SBS TV. Elena was commissioned by State Theatre Company to write a play for State Theatre Company’s 2016 education program. The result is Gorgon, which will toured extensively throughout South Australia, following a season at The Space Theatre. Elena Carapetis’ credentials as a playwright came later in her career; she has long been an on-stage favourite at State Theatre Company of South Australia, recently appearing in Machu Picchu. Her other acting credits for State Theatre Company include Summer of the Seventeenth Doll, Othello, Between Two Waves our 2014 State Umbrella production, The Comedy of Errors, Features of Blown Youth, Uncle Vanya, Hot Fudge , Central Park West, and The Things We Do For Love. She hopes to continue her career as actor / playwright for a long time to come.
Dawn Langman
Simi Roche

Hew Parham

  Hew was a core member of Adelaide's Berlin Cabaret Ensemble which won Best Cabaret at the 2002 Adelaide Fringe Festival, Light Year Awards for Best Cabaret and The Adelaide Critics Circle Award for Innovation. He has also performed in the acclaimed one-man show The Idiot, the film Travelling Light and a cabaret of Tom Waits songs called My History of Obsession with Tom Waits. Hew has also performed in Significant Others (Oddbodies Theatre Company), Pounding Nails into the Floor with my Forehead (Pounding Theatre Company) which also played the 2004 Melbourne Fringe Festival and won the Best Spoken Word Performance Awards and Boo! with Windmill Performing Arts. Hew won the Neil Curnow Award, which he used to study at the Hunter Gates Academy of Physical Theatre in St Albert, Alberta, Canada; and Bouffon and Clown with Karen Hines and John Turner on Manitoulin Island, Ontario. Hew worked as the drama co-ordinator of Tutti Arts and is wrote and directed their show The Little Blue Parcel. He starred in Tomfoolery for the 2008 Adelaide Fringe Festival at La Boheme. He toured nationally with Patch Theatre Company's production of Me & My Shadow and recently performed his hit show Giovanni for the Adelaide Cabaret Fringe and toured it to the Clown Festival in New York.

Anne Thompson

  Anne Thompson was a founding member of Dance Works; the company established in 1983 by Nanette Hassall to develop Australian contemporary dance choreographers. She worked for the company as a dancer, choreographer, teacher and community artist. During that time she co-founded the theoretical journal, Writings On Dance, with Elizabeth Dempster and Jude Walton and taught contemporary dance in tertiary institutions in Victoria. She was thus involved in the importation of American post-modern dance ideas and techniques to Australia and in establishing a theoretical dialogue between feminist ideas, contemporary cultural theory, philosophical theories of the body and contemporary dance. She started part-time lecturing in movement for actors at the Victorian College of Arts Drama School in 1988 and became Head of Movement in 1990. She was nominated for a Green Room award for her Daughter Solo in 1990. She also completed a Graduate Diploma in Movement and Dance and was part of a pilot dance therapy program in Melbourne. In 1994 she moved to Adelaide to complete a MA in Directing at Flinders University with Professor Julie Holledge. In the theoretical component of her Masters she focused on how theories of subjectivity which locate the body at the centre of the ‘self’ were being used in contemporary dance practice. In the practical component she studied directing text based theatre. She has also worked at Flinders as a Lecturer in Theories of Performance, supervisor of student productions, coordinator of the movement course and researcher. She has worked with Garry Stewart, Artistic Director of ADT as a dramaturg on three projects and has reviewed dance in Adelaide for Real Time. She has also been on the Artistic Advisory team for Vitalstatistix and in 2001 she co-founded the Eleventh Hour Theatre project in Melbourne with William Henderson, Fiona Todd and David Tredinnick and the company has presented seven shows. In 2006 the company won two Green Room Awards (the Victorian Industry Awards) for their 2005 productions of Arthur Miller’s The Crucible and Shakespeare’s King John - Best Adaptation and Best Drama Production. In November 2005 she was awarded her Ph.D. which examines the project of Reconciliation from a white Australian perspective including how nationalism, the arts and the government’s political agenda too often intertwine to perpetuate a ‘white Australia’. In 2007 she was appointed a part-time Lecturer in directing and acting at Flinders University Drama Centre and Eleventh Hour won four Green Room Awards in the Independent Theatre category for their 2006 homage to Samuel Beckett – Best production, Best director, Best male actor (Peter Houghton) and Best design (Julie Renton).

Julie Holledge

  Julie worked as a professional actor and director in the British theatre for ten years before moving to Australia to lecture at the Flinders Drama Centre. She established a research centre for performance at Flinders, which has evolved into the Australian Performance Laboratory (APL). The current focus of the laboratory is intercultural performance and new technologies; two of its most notable productions were collaborations between Australian and Japanese artists: Masterkey (Adelaide Festival of Arts 1988 and Perth Festival 1988) and Exile (Sydney Spring Festival 2000 and the Shanghai Festival 2000). In addition to her activities as a professional director and university teacher, Julie Holledge has published extensively in the field of women’s performance. Major publications include her ground breaking study Innocent Flowers: Women in Edwardian Theatre (Virago) and her most recent work co-authored with Dr Joanne Tompkins Women’s Intercultural Performance (Routledge) which won the Rob Jordan Book Prize. She was the artistic director of the Third International Women's Playwrights Conference held in Adelaide in 1994, the convenor of the Art, Technology and New Performer Symposium, Shanghai 2002, and has convened the Australian delegations for the IWPC in Manila 2003, and Jakarta 2006. Julie was the head of Flinders Drama Centre from the early 1980's until 2007.

Michael Morley
Brecht/Music Theatre

  Educated at the Universities of Auckland, Zurich and Oxford (Christ Church), Michael Morley taught German at Auckland, before moving to Flinders University, Adelaide, where he has been Professor of Drama since 1984. He has published articles on Brecht's poetry and drama and on his collaborations with Kurt Weill and Hanns Eisler, as well as contributing translations and editorial material to the Methuen edition of Brecht's poems and plays. He has been President and Vice-President of the International Brecht Society, is a member of the advisory board of the Complete Kurt Weill Edition, and is the Australasian correspondent for the International Harms Eisler Gesellschaft. Over many years he has written theatre and music reviews and articles for a variety of publications including Theatre Australia, The National Times, The Australian, The Australian Financial Review, Opera News (New York), The Kurt Weill Newsletter and The Adelaide Review. As a professional musician he has been musical director and pianist for performances of Happy End, The Mother, The Threepenny Opera, Happy Birthday Brecht (Artaud Theatre, San Francisco), and was dramaturge and musical advisor for the double bill The Decision (Eisler/Brecht) and The Second Hurricane (Copland) for the 2000 Adelaide Festival of Arts. He has also worked on numerous cabaret shows, ranging from the music of Jacques Brel and Rodgers and Hart to Sing Your Own Musical (Melbourne Festival and Adelaide Cabaret Festivals). With Robyn Archer he has collaborated on a number of cabaret performances since 1977, presented throughout Australia, as well as in Hong Kong, Bourges and Ljubljana.

Mary Moore

  Mary is an established theatre designer whose career spans 30 years and 3 continents. Between 1968-1981 her work was seen in many of the major English theatre companies, including The Royal Shakespeare Company, The Mermaid Theatre, The Royal Court; she was also part of the new wave of radical alternative companies such as Gay Sweatshop, Monstrous Regiment, and The Women’s Theatre Group. Between 1974-1980 she designed three productions for The Low Moan Spectacular in New York, San Francisco and L.A. In 1981, she came to Australia and continued a successful freelance career creating designs for all the major theatre, dance and opera companies. She has also been involved in many projects produced outside the mainstream industry and in recent years she has been experimenting with the interface between electronic moving images and live performance. She was awarded a Mid Career Fellowship from the South Australian Dept of Arts in Jan 2001 to develop a new work on the subject of Twins. Her design work has won awards in Europe, America, and Australia.

Helen Tiller

  Helen Tiller has extensive performance experience in Music Theatre (9 Professional Leading roles), opera and television. She was the first female Television news reader in Australia. She conducts workshops for Professional Music Theatre companies - Phantom, Showboat, The Lion King - and is the most experienced Estill Practitioner in Australia. She has her own consultancy, where she works with voice clients across the spectrum of Speech, Voice, Singing and Remediation. She was keynote speaker to the first ever Pan Asian Voice Symposium in Singapore in September, 2007. She has worked with State Theatre, Brink Productions, Flying Penguin Productions, Vitalstatistix and Windmill Theatre Companies and has taught at Sydney University's National Voice Centre, Royal Scottish Academy of Music and Drama, Italia Conti School of Music and Drama in London and Astro Broadcasting Corporation in Kuala Lumpur. She has trained 4 of the current Television Newsreaders in SA and has worked at ABC News and Current Affairs, Imparja TV and currently at Channel 10. She worked as accent coach on the films Wolf Creek and Hey Hey, It's Esther Blueberger.

Dale Ringland
Music Theatre

  For over five decades, Dale Ringland has been one of Australia’s leading Musical Directors and accompanists. As a student he played french horn with the Sydney Symphony Orchestra. By age sixteen he joined the Tivoli Circuit. From rehearsal pianist to assistant conductor, Dale was invited to join JC Williamson Theatres and a fifteen year association as Musical Director followed. Since then Dale has been associated with almost every major professional musical produced in Australia. He was responsible for productions including Sweet Charity, Man of La Mancha , A Little Night Music, Gypsy, Irene, The Wiz, I Love My Wife, They’re Playing our Song, La Cage aux Folles, Sugar Babies, Anything Goes and Me and My Girl. As orchestral pianist and repetiteur Dale has worked with A Chorus Line, Cats, Phantom of the Opera, Song and Dance, Side by Side by Sondheim, Sweeney Todd, Sunday in the Park and more. Two years as conductor with the Australian Ballet led to engagements with The Bolshoi Ballet, The Royal Winnipeg Ballet, Sydney Festival Ballet during which time he worked major world ballet stars including Rudolph Nureyev, Dame Margot Fonteyn and Maina Geilgud. In 1978 Dale became Robyn Archer's Musical Director and accompanist, the partnership resulting in the major successes Tonight: Lola Blau and A Star is Torn both issued on CD. Other CDs as musical Director include They’re Playing our Song (gold record status) and Anything Goes (ARIA Award for best cast album of 1990 and was one of New York Playbill's 12 best albums of the same year). As an Adelaide Cabaret Festival performer since its inception Dale has performed with Maria Freedman, Bernadette Peters, Maltby and Shire and Michael Feinstein. Dale was a pianist with the Adelaide Symphony Orchestra (18 years) and has been principal repetiteur with State Opera of South Australia for the last decade as well as being a busy accompanist in Adelaide’s music circles. In 2010 Dale was recipient of the Adelaide Critic’s Circle life achievement award. In 2011 he was awarded Honorary Life Membership of the Accompanists' Guild. 

Wojciech Pisarek
Digital Puppetry

  Wojciech Pisarek was born in Poland.  He trained as an actor at The Leon Schiller State Film, Television and Theatre Academy in Lodz from 1967-1971, and as a director at The Ludwik Solski State Academy of Theatre Art in Cracow from 1974-1978. From 1971-1983 he worked in Poland as an actor and director, and received a number of awards from the Ministry of Culture. In 1984 he migrated to Australia and settled in South Australia.  Initially he worked as a free-lance actor, but in 1984 he created a young people’s puppet company, Carouselle Theatre. In his capacity as the Artistic Director, he produced over twenty original productions in thirteen years. The most notably works Break Down, Waiting For …Beckett and Don Quixote were performed across Australia and were invited to international puppetry festivals in Europe. In 1998 Wojciech was awarded an Australia Council Fellowship which allowed him to experiment with new technologies and the creation of new forms of digital puppetry. He taught alternative performance at the Flinders Drama Centre, where he was conducting research into the real time performance of digital characters. He is the Deputy Chair of the Theatre Board and a member of ACMAC.

Catherine Fitzgerald

  Catherine is a performer, writer and director and is currently the Artistic Director for Adelaide's Feast Festival. She has worked for most theatre companies in SA over the last twenty years. She directed Frozen by Bryony Lavery for State Theatre Company SA. and wrote Boo!, a co-production with Windmill and Mainstreet Theatres and was produced for Carrick Hill and toured to Regional SA and Victoria. She has directed David Williamson's Third World Blues, Peta Murray’s Salt, David Auburn’s Proof and David Mamet’s Boston Marriage for State Theatre Company of South Australia. She was Artistic Director of Vitalstatistix National Women’s Theatre from 1996-2002. Some of her directing credits for Vitalstatistix include Svetlana in Slingbacks by Valentina Levkowicz, Whispering Demons by Heather Nimmo, Spool Time by Alana Valentine, Titbits, Margie Fischer Live at the Lion, and Bull Bar Tours - co-written with Eva Johnson. She has been Artistic Director of Mainstreet Theatre and has worked as a freelance writer/director for Centre for Performing Arts, Port Youth Theatre, Living Voice Theatre and Murray River Performing Group. Catherine has worked as an actor for Troupe Theatre, Vitalstatistix, State Theatre of SA, Mainstreet, Junction Theatre and ABC Television. Catherine has written and produced her own one-woman show Just a Little Crooked Around the Edge and performed it nationwide. She also appeared in Rolf De Heers award winning film Dance Me to My Song.

Michaela Cantwell

  Michaela has been actively involved in film, television and theatre. Some of her film and television credits include Innocence, directed by Paul Cox, Driven directed by Susan Miller and McLeod's Daughters as well as various television commercials and two series as the presenter for Off the Vine. Her involvement with theatre, in particular Brink Productions of which she is a founding member, Board member and current ensemble member has been extensive. She has also worked other companies including Red Shed Playbox Theatre Company, Vitalstatistix and State Theatre Company of South Australia. Some of her major performances include The Ecstatic Bible, directed by Howard Barker and Tim Maddock, (Uncle) Vanya also directed by Tim Maddock, Sweet Road directed by Aubrey Mellor, Third World Blues directed by Catherine Fitzgerald, Killer Joe directed by Hannah MacDougall, 4.48 Psychosis directed by Geordie Brookman, Drums in the Night directed by Chris Drummond, Translations directed by David Mealor and Noises Off directed by Adam Cook. She has also been involved in play readings and developmental works such as, The Rope Project and This Uncharted Hour for Brink Productions, The National Playwrights Conference, “84” for 4 Bux progressive Art and a rehearsed reading, directed by Tony Ayres, of the screenplay Cut Snake, written by Blake Ayshford (Adelaide International Film Festival).

Joh Hartog

  Joh first moved to Australia in 1965 and worked as a director with Q theatre in Sydney in 1969. He then returned to Holland where he worked with several companies until 1974 when he took up work with the Music Hall in Neutral Bay, NSW. He continued to work on and off in theatre in NSW until coming to South Australia where he completed a Bachelor of Arts at Flinders University in 1992. The work he did for his PhD thesis, a cultural audit on events at the Festival Centre, translated into a national project, which eventually became AusStage. He is a senior lecturer at Flinders University, where he has directed numerous productions including The Housekeeper, Massacre Games, Attempts on her Life, Mad Forest and Three Sisters. Productions outside the University include Dark Matter – A Diapasonic Trek (original work), And I’ll Give You All The Diamonds In My Teeth and The Bald Primadonna. He helped set up Short Theatre, which is designed as a coming together of local talent to review, discuss and present 10 minute works. He was the Artistic Director of popular Adelaide Independent Theatre Company Accidental Productions and now Joh Hartog Productions.

Alirio Zavarce

  In 2000 Alirio worked with the Yaschin Ensemble in Intimacy and with Brink productions in Howard Barker’s Ecstatic Bible for the Adelaide Festival. In 2001 Alirio performed the one man show Fronteras Americanas/American Borders for which Alirio won the Adelaide Critic Circle Emerging Artist Award and opened the International Festival of Monologues Migrating Souls in Singapore. In 2002 he performed in Medea Material as well as in Tangent production’s Edward II. In 2003, Alirio toured Fronteras Americanas as part of Kultour 03. (Adelaide, Melbourne, Perth). As a member of the Border Project, Alirio performed Please Go Hop! in the Adelaide Fringe and Next Wave Festival, played the role of Vince in the Feature film Life Story and performed the role of Talthybius in State Theatre's Trojan Women . As a director Alirio has worked with the Nexus Multicultural Art Centre, Urban Myth, No Strings Attached, D’ faces of Youth Arts and the Flinders University Drama Centre.

Michael Fuller

  Michael arrived from the U.K. in 1972 and has worked at N.I.D.A. as a movement/dance teacher and also as a choreographer for The Sydney Theatre Company, A.T.Y.P. and as an actor/choreographer for The Sydney Theatre of The Deaf.  In 1977 he moved to Adelaide where he worked as movement/dance lecturer at Flinders University's Drama Centre and as an actor/choreographer for The State Theatre Company and Troupe Theatre.  He has also choreographed for State Opera, S.A. Film Corp, Patch Theatre Company, Doppio Teatro and Vitalstatistix to mention a few. Michael now works as a freelance choreographer, movement teacher and director and directed and choreographed Tomfoolery for the 2004 Melbourne Comedy Festival at Chapel off Chapel and at La Boheme for the 2008 Adelaide Fringe Festival. His production of Falsettos also won an Adelaide Critics Circle Award for best production. He recently directed a performed reading of a new musical Price Check for the Adelaide Cabaret Fringe Festival. He has also choreographed many secondary school productions for Scotch College and Norwood Morialta.


  Velalien has worked extensively as a director and choreographer around Australia. She has worked on shows for the Adelaide Fringe Festival, Belvoir, Darlinghurst Theatre, Ensemble Theatre, Melbourne Cabaret Festival, Helpmann Academy, Feast Festival, Tangent Productions, Junction Theatre, Magnormos and The Elder Conservatorium. At Flinders Drama Centre Velalien choreographed for cabaret productions, Death and the Maiden, Koala Lou and The Damned. For State Theatre of South Australia she performed in Cabaret which starred Dennis Olsen and Helen Buday, a co-production with Australia Dance Theatre. She also performed in The School For Scandal and was choreographer for The Venetian Twins. She now works as a freelance director and choreographer.

Robert Marchand

  Robert Marchand is a director and writer. He has specialised in television mini-series with an emphasis on performance and character. His credits include Fields Of Fire, Come In Spinner, Sun On The Stubble and The Potato Factory as well as the TV drama All Saints. Robert is a graduate of AFTRS - where he investigated the Mike Leigh improvisation method, working with actors over a three month period. He subsequently attended workshops conducted by Mike Leigh and has frequently used the process in his own work. Robert also runs a five day intensive workshop Investigating Performance which explores in-depth character-based improvisations for actors and directors. His master-classes have now been featured at SPAA Fringe (Screen Producers Association of Australia); at the Australian Screen Director’s Conference and most recently at the AFC’s IndiVisions initiative. He is the advisor on several films using character-based improvisation techniques in development or in production.

Sam Haren

  Sam is a Creative Director of Sandpit, a new company that designs participatory experiences across platforms that trans­port audi­ences into a story, fictional universe or artwork. From 2002–2012, he was Artistic Director of The Border Project, and directed/co-directed all of the company’s work in this time. His directing credits with The Border Project include I Am Not An Animal with Daniel Koerner (Adelaide Festival 2012), Half-Real (Local Stages, Malthouse Theatre & Melbourne Festival 2011), Escape from Peligro Island (Windmill Theatre & Come Out 2011), Vs Macbeth (Adelaide Festival 2010 & Sydney Theatre Company) Disappearance (iNSPACE 2008, Adelaide Festival Centre), Trouble on Planet Earth (Adelaide Fringe 2008), Highway Rock ‘n’ Roll Disaster (Adelaide Fringe 2006, iNSPACE 2007, Sydney Theatre Company 2008), Please Go Hop! with Ingrid Voorendt (Adelaide Fringe 2004 & Next Wave 2004), The War (Gorge ’03 at the Adelaide Festival Centre) and Despoiled Shore Medeamaterial Landscape with Argonauts. For Windmill Theatre, he has directed Plop! and Grug. He has also directed and choreographed Theatrical Trailer for Alien 5 (Australian Dance Theatre Ignition 2007 & 2008) and The Game is Not Over (ADT Ignition 2006), The Station / At the Statue of Venus (State Opera SA 2006), Fronteras Americanas (Kultour 2003) and with Steve Mayhew created Super Dimension Fortress One (Remote Telemetry Dialogues 2004). He was one of three international finalists for Rolex’s Mentor and Protégé Initiative for a mentorship with Julie Taymor in 2006, travelling to New York to meet with her. Sam was awarded the Dame Ruby Litchfield Scholarship for 2002 and undertook a three month internship with The Wooster Group in New York, working on their production of To You, The Birdie! He also observed Forced Entertainment’s research and development of The Travels in the UK. He has worked with Leigh Warren and Dancers and the Australian Dance Theatre as a dramaturg and researcher. Sam is currently collaborating with another Insite artist, Larissa McGowan, to create the full length dance work Skeleton, presented in 2013.

Tim Maddock

  Tim has worked in the theatre for almost 20 years as a Director, Designer, Actor and Educator. He was a founding member of Adelaide's Red Shed and eventually became Artistic Director. For the Shed he worked on a number of world premieres for the Adelaide Festival including The Architect's Walk by Daniel Keene. Tim was part of a group that successfully established the South Australian theatre company Brink Productions. He went on to direct numerous productions including (Uncle) Vanya by Howard Barker at Belvoir St. In 2000 Tim co-directed with UK playwright Barker the epic 8½ hour production The Ecstatic Bible, involving the UK's The Wrestling School and Brink Productions. This was a major feature of Robyn Archer's 2000 Adelaide Festival and a triumphant artistic success. Over many years Tim has produced works for the Drama Centre including Cultureshock - an intercultural collaboration between Australian and Okinawan students performed both in Japan and Australia. At the Drama Centre Tim has also supervised on over 20 productions. He directed Cosi for a graduating production at NIDA and directed a new work conceived by independent film-maker and composer Andree Greenwell for The Studio at the Sydney Opera House. Tim is currently studying for his doctorate(DCA), the creative component of which is his direction of Like a Fishbone by UK- based Australian playwright Anthony Weigh (STC and Griffin).

Sally Nimon

  Dr Sally Nimon has worked in the Higher Education sector since 1998, in both academic and professional roles. After undertaking degrees in Arts and Physiotherapy she completed a PhD in 2002 whilst lecturing in voice at The Flinders University of South Australia. She is currently employed as the Business Analyst in Market Research at the University of South Australia.

Malcolm Fox

  Malcolm was a lecturer in the drama department specialising in improvisation, commedia dell-arte and contemporary French theatre. He also lectured in the School of Education where he was responsible for all Drama in Education courses.

Matthew Carey

  A graduate of the Elder Conservatorium, Matthew Carey has performed extensively around Australia and overseas. His passion for music theatre and cabaret has seen him work on a number of National and Local theatre productions and present cabaret shows in Sydney, Melbourne and Adelaide. His musical theatre experience includes musical direction of local productions of Chicago, Victor Victoria, Closer Than Ever, Company and Hair, keyboard playing with The Phantom of the Opera orchestra, and repetiteur work with the State Theatre Company and the Adelaide Symphony Orchestra. He was the musical director for Flying Penguin's production of Assassins in 2008 at the Space Theatre and was a Helpmann Nominee for best Musical Director for Matthew Robinson's Metro Street which also toured to Korea. He also recently played piano for Liza Minelli's national tour.

Paul Lawrence-Jennings
TV Studio/Editing

  At Flinders Paul was in charge of the television studio and taught the students and staff how to run the cameras and other equipment. He inducted the first year students into theatre lighting and sound. He worked closely with the third year students and helped to film and then edit their demo reels for entry into the acting Industry. Paul worked at Flinders between 1999 and 2006 and then moved to the UK and was the Audio Visual Technician at Guildford High School. Since 2013 he has been working at Epsom University working with the Students on their 3D projects and helping them to realise their ideas. He uses several different mediums including plaster, wood and wax.

Scott Castledine
  Since 1997 Scott (better known to most as Scooter) has been a casual technician in the Drama Centre. He provides casual labour to support many of the student productions and also looks after the external hirers of the Matthew Flinders Theatre. Outside of the Drama Centre, Scott also works with Screen Production at Flinders University, and more broadly in the field of professional audio and lighting services. He also holds a sales position at Adelaide based firm Australian Audio & Lighting Technology. Scott also has a love of live music and has crewed for many international touring artists as they have passed through Adelaide, with some of the notables including John Farnham, Pink, Metallica, Killing Heidi, Jimmy Barnes and Nickelback.

Roz Hervey

  Roz is a dance graduate of the Centre for Performing Arts. Over the last seventeen years she has worked for numerous dance and dance theatre companies including; One Extra Company, Sydney Front, Dance North, Theatre of Image, Sue Healey, Meryl Tankard Co, DV8, and Force Majeure. With these companies she has toured extensively throughout Australia, Europe and South East Asia. In the last five years she has also worked as an event co-ordinator on Adelaide Festival 2000 late night club and Opening Night Concert, Comeout 2001 Opening and Parade. She was Artistic Director for SA day 1999, 2003 Bundaleer Weekend - Sunday Walks and co director on the Comeout 05 Opening. In 2002 she won the Ausdance ‘Outstanding performance by a female dancer’ award for her performance in Force Majeures Same but Different. She continues her role as Associate Director with Force Majeure.

Triton Tunis-Mitchell
  Triton was caught trying to balance on the Hills-Hoist clothesline at age five. His mother did the right thing and enrolled him in Cirkidz Youth Circus School. Growing up as a junior performer he made a successful transition to professional performance over 10 years ago. Triton is a qualified physiotherapist and now splits his time between his inner-city clinic and performing and teaching acrobatics and body health at a variety of centres around Adelaide. Performance specialties include hand balancing, juggling, cigar box manipulation and slack wire.  

Peter Deane

  Peter Deane is a singer, conductor and voice teacher with considerable experience. After graduating from the Elder Conservatorium of Music, he then undertook two years’ graduate study at the University of Southern California and in Chicago and London. As a singer, Peter has performed a wide range of musical styles from piano bar to music theatre through to Opera and Oratorio. Thanks to Brian Chatterton and Co*Opera SA, Peter performed many operatic roles all over Australia, a favourite being Scarpia in Tosca. For State Opera SA he performed many comprimario roles and choruses, highlights being Sweeney Todd with Gale Edwards and two Ring Cycles. Peter has conducted five Youth Operas for the Come Out Festival and the State Opera of SA, as well as many choral/orchestral concerts. He taught singing at Flinders Drama Centre from 2000-2001 and was the voice coach for the students for The Second Hurricane for the 2000 Adelaide Festival of Arts. In 2011 he was the Director of Music at Christ Church North Adelaide, exploring a range of early liturgical music with a choir of trained voices. Peter currently conducts the Senior School Choirs at St Peter’s College. Peter sang in a number of Lumina concerts in 2012 and guest conducted our 2012 Fringe concert.

Jenny Fewster
Admin Support

  After leaving school, Jenny studied Business Marketing at the University of South Australia. Deciding that a career in Marketing was not for her, she spent the next few years working at the University of Adelaide Waite Campus where she developed a good grounding in IT. She worked briefly as a Stage Manager before gaining the position of Research Assistant at the Performing Arts Collection of South Australia at the Festival Centre. Here she worked with Flinders PhD student Joh Hartog on developing a database catalogue system for the Collection which at that time was still being card catalogued. Jenny left the Performing Arts Collection after the birth of her first daughter and worked on a Dance database for Dance Historian Meg Abbie Denton. In 2000 Jenny became the Assistant Project Manager of the AusStage: Gateway to the Australian Performing Arts Project. In 2003 she was appointed to the position of Project Manager. Jenny has been responsible for Arts Administration for both APL and Drama Centre.

Andrew Bailey

  After graduating from the Centre for Performing Arts in 1994, Andrew spent the next two years working as a freelance theatre technician. He worked at the Red Square for the Adelaide Festival of Arts and ran The Little Theatre for the University of Adelaide. In 1996 Andrew became the Technical Coordinator of the Matthew Flinders Theatre and Flinders University Drama Centre. He was involved in the design of the new Drama Centre building which was opened in 2000. Some of his achievements since joining the Drama Centre staff include touring to South Korea with Koala Lou, Lighting Design for Exile (Sydney Spring Festival 2000, Shanghai Festival 2000 and Adelaide 2004) and Production Management for the Art, Technology and New Performer Symposium, Shanghai 2002.

Aidan Munn
  Aidan has performed and created work for people throughout Australia, Asia and Europe. He has taught dance and physical theatre in South Australia for over 10 years. Aidan has taught at AC Arts, Flinders University, Dance Craft Studios, Kurruru Indigenous Youth Performing Arts Inc and Ausdance. He also has taken classes for Australian Dance Theatre and Leigh Warren and Dancers. Aidan trained at the Australian Ballet School, being awarded a Diploma of Dance in 1989. Since then, Aidan has performed and choreographed for numerous companies in styles ranging from contemporary to jazz to hip hop. He was a founding member of Leigh Warren and Dancers, and has performed with Australian Dance Theatre, Da Whyze Guize, and Buzz Hip Hop Circus. He has worked as choreographer and Associate Director for a number of groups, including TAFE SA AC Arts, Pelican Productions, Cirkidz, Urban Myth Theatre of Youth and Outrageous (Outlet Youth Dance Company). An active member of the South Australian dance scene, Aidan has also sat on the Board for Leigh Warren and Dancers, the Assessment Panel for TAFE SA AC Arts (Dance Department) and the judging panel for the Adelaide International Buskers Competition and Adelaide Fringe Awards (Physical Theatre). Aidan is currently focused on sharing the skills he has developed over the last twenty years.

Naida Chinner

  Naida is a performer, teacher and choreographer. She has created and performed work independently, and for Australian Dance Theatre's Ignition. Naida directed A tiny piece of hope for the 2002 Adelaide Fringe Festival and performed a trilogy of solo works at the Bakehouse Theatre. Naida has taught technique for Australian Dance Theatre and the Flinders Drama Centre.

Phyllis Jane Rose

  PJ is a theatre director, radio producer, community arts organiser and former university lecturer. She's worked in Nicaragua, Indonesia, the USA and Australia with youth, adults and elders in Indigenous, multi-cultural, multi-gender and disability communities. From 1999-2004 she was Program Manager at Radio Adelaide. In September 2004 she rejoined No Strings Attached where she'd also been artistic director from 1997-1999. In the USA (1976-1987), PJ was Artistic Director and General Manager for a professional multiracial women's theatre company called At the Foot of the Mountain. In 1988 she began traveling internationally, supporting herself by driving taxi cabs, looking for ways to reconcile her apparently contradictory passions for feminist theatre, Indigenous politics and musical comedy. She moved to Australia in 1990 to lecture in Drama at the Flinders University. She's founded theatre companies, organized international conferences, and produced and presented radio programs (the most fun of which was Red Light Radio, a 13-week magazine style program created by, and for, workers in the sex industry). She's directed over 50 professional productions, including 25 premieres of new scripts, most with original music. She has a PhD in contemporary political theatre.

Gus Worby
  Gus Worby was born in Stockport, England in 1946. He migrated to Australia with his family in 1954 and settled in Geelong where he attended Geelong Grammar School. He studied Arts at Melbourne University and there became involved with student and professional theatre. He was awarded three Murray Sutherland and University Union Prizes for Acting and Directing, studied for a Masters degree at Melbourne University and worked as tutor, dramaturg and actor with the Melbourne Theatre Company. In 1971 he moved to South Australia to join the Flinders University Drama Discipline under Wal Cherry where he completed his PhD whilst teaching in both the Drama Centre and Drama theory streams. He was instrumental in developing a strong Australian Drama focus which integrated theatre, film, television and radio studies and this provided the base for involvement as actor, designer, writer and director in over 40 teaching, community and professional productions in South Australia, interstate and overseas. Between 1971 and 1983 he served in a range of capacities including as theatre critic for Theatre Australia, on the South Australian Arts Grants Advisory Committee, on the SA Australian Drama Festival Committee, as judge for Adelaide Festival Drama awards and as inaugural Chair and Chief Examiner for Matriculation Drama in South Australia. His research interests widened to included South East Asian and Pacific as well as Australian Drama. In 1983 Worby co-initiated the Australian Studies Programme at Flinders University and from 1989 this became his principal focus of research and professional involvement as Programme Chair, inaugural Director of the South Australian Centre of Australian Studies and Head of the School of Cultural Studies. As Professor of Australian Studies at Flinders and President of the International Association of Australian Studies, he maintains strong interest in the Arts and public culture and Indigenous Education. Worby has had a long involvement with the Yunggorendi First Nations Centre at Flinders University, acting as Director on a number of occasions. He was instrumental in the establishment, with Kerry Kilner, of AustLit's BlackWords: Aboriginal and Torres Strait Islander Writers and Storytellers project.

Noel Purdon

  Noel Purdon has been a film critic for The Adelaide Review since its first issue in 1984. He also regularly reviews literature, opera and theatre. He was educated in Sydney, Florence and Cambridge and was an elected Fellow in English at Trinity Hall at Cambridge in 1967. With Raymond Williams he initiated the first lectures on cinema within the Cambridge English Tripos. Returning to Australia in 1974 he became inaugural Head of Screen Studies at Flinders University, leaving academe in 1996 in order to concentrate on writing. Mr Purdon has published three books and one play and is currently working on a novel. He is the winner of the 2002 Pascall Prize for creative criticism in his long running column in the Adelaide Review. He has published poems, short stories, art criticism and a book on Shakespeare, The Words of Mercury

Bill Bamford

  William Bamford is a graduate of the Sydney Conservatorium and The Victorian College of The Arts. Between 1970 and 1990 William sang with all the major Australian opera companies in a large variety of roles ranging from Monteverdi to Berg in opera; G&S to Sondheim in music theatre and Monteverdi to Britten in sacred music. William has studied vocal technique thoroughly and was the first Australian singer and teacher to study with Jo Estill in the US. He is a Melba and Sutherland fan. While living in Adelaide in the 80’s William taught voice at Flinders Drama Centre , The Elder Conservatorium and The Centre for the Performing Arts. During this time he conducted Oliver, Fiddler on The Roof, The Beggars Opera and O What a Lovely War. In 1989 William was chorus director and sang the role of The Messenger in L’Opera Aida de Montreal's production of Aida in Sydney and then in Tokyo in 1990. In 1990 William returned to Melbourne and was a cast member of the original Phantom of The Opera after which he sang with the VSO and Opera Australia. From 1993 he taught at Box Hill Inst. of TAFE, The Melba Con. and the V.C.A. For G&S Victoria he has conducted Patience, Iolanthe , The Gondoliers and The Merry Widow. Currently he teaches singing privately and is chorus master for the Melbourne Opera.

Gil Brealey

  Born in Melbourne in 1932, Brealey took a degree in Commerce at Melbourne University. He was active in the University Film Society, and from there joined the Victorian Department of Education as an art teacher stationed in the Visual Arts section of Coburg Teachers College. By now his film credits included work on the documentaries Sundays In Melbourne, Grampian Highlands and Waiting For Thursday. In 1962 he joined the ABC as a film director and in the mid-1960s became a producer on Chequerboard. From there he moved to the Commonwealth Film Unit as a producer. Among his more notable work there was Three To Go (1971) and Flashpoint (1972). In 1972 he moved again, this time to the newly inauguarated South Australian Film Corporation as its first chairman. Although his tenure there was short - only remaining until 1975 - nevertheless he is credited with the decision to back the feature Sunday Too Far Away (1975) which, in turn, persuaded other state governments to follow the South Australian lead and establish separate state film bodies. By then Brealey had again moved on. After breifly lecturing in film at Flinders University in Adelaide, he became the first chairman of the newly established Tasmanian Film Corporation. Film production eventually drew him away from administration and he was executive producer on Manganinnie (1980), producer on Dusty (1983) and directed the first feature film for Film Australia, Annie's Coming Out.

Tim Robertson

  Tim is a part of Australian theatre history having been a writer, director and actor with the Australian Performing Group at the Pram Factory from 1972-1979. Prior to moving to Melbourne lectured in drama at Flinders from 1970-1972. His extensive career as an actor includes many leading roles with Melbourne Theatre Company, Sydney Theatre Company, South Australian Theatre Company, Belvoir Street, Nimrod, Black Swan, Bell Shakespeare, Playbox and La Mama. In 2010 he was the Artistic Director of the Benalla Festival. His Film and TV credits include Rush, Australia You're Standing In It, The Car That Ate Paris, The Year My Voice Broke, Pure Shit, Power Without Glory, Scales of Justice, Bodysurfers, Vietnam, All the Rivers Run, Chances, Blue Heelers, Stingers, The Chant of Jimmy Blacksmith, Bliss, Evil Angels,The Big Steal, The Father, Holy Smoke, He Died With A Felafel In His Hand, The Man Who Sued God, Matching Jack, The Eye of the Storm and The Mule.

Wal Cherry

  In 1967 Cherry was appointed foundation professor of drama at Flinders University, South Australia. He began building a department based on his company-workshop model, integrating the teaching of theatre, film, radio and television under a broad concept of drama as 'a complex changing communal activity'. He was soon immersed in teaching and other university duties as chairman of the school of language and literature (later school of humanities) in 1968-70 and of the theatre management committee in 1968-78, and as dean of University Hall in 1970-74. His aspiration to link the drama program with a major theatre company escaped him: overtures to the South Australian Theatre Company were not reciprocated, although his work for New Opera, State Opera of South Australia and the Festival Centre Trust—combining professionals, departmental staff and students—was of the highest standard. He formed the Australian Stage Company, an occasional ensemble including several now-famous performers. During his career Cherry directed at least eighty-six plays, revues, operas and music theatre pieces, wrote a novel and two plays, collaborated on film scripts, published incisive articles, delivered papers in Australia and the United States of America and served on over thirty university and industry committees. He won the 1958 and 1961 'Erik' awards in Melbourne and the 1959 Western Australian General Motors Holden award for best production, and travelled to the USA on Fulbright fellowships (1972, 1976) and to Japan on a fellowship from the Cultural and Social Centre for the Asia-Pacific Region (1973). In 1980 Wal moved to the US and was appointed professor of theatre at Temple University, Philadelphia. He died in 1986. The Wal Cherry play of the year award is sponsored by the Victorian Arts Centre.

Henry Salter

  Henry Salter was educated in London and Bristol, and at the Sorbonne in Paris, before training as an actor at the Old Vic Theatre School, Bristol. His career in the U.K. included acting and writing for stage and television, directing an acting course at the Old Vic Theatre School, and teaching in the Drama Department of Bristol University. He came to Australia in the 1970s, becoming Senior Lecturer at Flinders University and eventually Director of the Drama Department. He established the small theatre company Dial-a-Play and was Artistic Director of Troupe. He freelanced from 1981, acting for the State Theatre Company and writing, directing and acting for Stage Company, Troupe, Patch Theatre and others. He appeared in a number of Australian films and television series. With Peter Coombe he presented the children's radio programme Tickle Pot on the ABC, and in 1990, at the termination of the programme, he published a book based on the series. He died in 2006.

Murray Copland

  Murray Copland's classical mind was of the highest intellect and left a mark on the world of theatre, literature and academia. He was also one of the greatest critics of those artistic endeavours; his brilliance was often betrayed by his own intolerance. A writer and director for stage and radio, Copland died in Melbourne after he tripped over a bicycle and fell. He was 72. John Murray Copland was born in Aberdeen, Scotland, and was classical dux at Robert Gordon's College in 1953. He won prizes in moral philosophy and French at Aberdeen University, and graduated from Oxford University (Lincoln College) with first-class honours in English language and literature. For the next 16 years, Copland pursued an academic career at the universities of Khartoum, Toronto, Ghana, and Flinders in South Australia. During this time he contributed many scholarly articles to Medium ver, he became increasingly drawn towards the theatre, and moved to Melbourne in 1976 to pursue opportunities as a freelance writer and director. Copland worked extensively with the Playbox Theatre, which commissioned and staged several of his 20 scripts, and for which he directed 18 productions. These scripts included Antigone (Sophocles), The Virgin, A Short Stop in Trieste and The Greatest Man On Earth, a play about Ibsen. Copland also worked with the Australian composer Barry Conyngham and wrote the libretto for three operas. Fly and The Apology Of Bony Anderson were released on CD and performed extensively, both nationally and internationally. Bennelong , a puppet opera about the Sydney Aborigine who went to England with Governor Phillip in 1793, toured Australia and the Netherlands, with puppets by the renowned Mirka Mora. Other significant writing included Netsuke, his comedy on Japanese folk-themes, which was performed at the Adelaide Arts Festival in 1978; Orpheus In The Underworld, performed by the Victoria State Opera in 1978; Gargoyles, a medieval play consisting mainly of French and Latin material never before translated into English, performed at the Adelaide Arts Festival and the Melbourne Theatre Company; and The Oath Of Bad Brown Bill, an opera for young audiences about bushrangers, again with Conyngham. Copland's writing was enriched by his intimate knowledge of literature and language, and reflected his own unswerving intellect and standards.

Zora Semberova

  In 1945 Semberova co-founded the dance department at Prague's state conservatorium, and her most illustrious student, Jiri Kylian, kept in touch with her throughout her long life. She was professor there until 1968. She married a surgeon, Dr Vaclav Holub, and they named their daughter Pamela after English dancer Pamela May. The marriage ended in divorce and in 1968 Semberova travelled to Adelaide to be with Dr Rainer Radok, the foundation professor of applied mathematics at Flinders University. She soon began teaching movement in the Flinders drama department: one of her early efforts, with nice symmetry, was an open-air production of Shakespeare's Romeo and Juliet. A former student, Ewart Shaw, remembered her telling him, "My God, you move terribly -- but you are wonderful at standing still." Other former students, who all remember her with great affection and gratitude, include Gale Edwards, Scott Hicks and his wife Kerry Heysen, Noni Hazlehurst and Greig Pickhaver. Revered in her homeland, she received many awards and was the first dancer to be given the title honoured member of the National Theatre. In 1998 she was awarded the Thalia Prize for lifetime achievement and in 2005 a Czech Republic award for outstanding Czechs living abroad. (The dining table in her home in Adelaide's suburban Clapham creaked under the weight of trophies and citations.) She had already been recognised in 1978 by her adopted country with an honorary doctor of letters from Flinders University for services to the arts in Australia.
    Other Teachers - George Anderson, Lorraine Archibald, Judith Casley-Smith,
Helen Herbertson, Andy Hollitt, Mosher Kadem, Sue Ridgway