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TRANSCRIPT
RUPERT is thoroughly
entertaining … I highly
recommend it. You will
learn to appreciate
how this one man could
achieve so much. —
Broadway World, 13
March 2014
This ensemble truly is
everything you could
want to represent a col-
orful group of charac-
ters with humor,
pizzaz, and memorable
versatility.—CD Metro
Theater Arts, 13 March
2014
… the show entertains
as much as it terrifies
with its bubbling combi-
nation of myth and
reality … In fact, the
show’s delightful fusion
of fact and fiction
would make Fox News
proud. —MD Theatre
Guide, 13 March 2014
MELBOURNE THEATRE COMPANY
CIRCUS OZ
Circus Oz took From the Ground Up on a cross-
continental US tour performing in 2013. It per-
formed to over 27,000 people, with excellent
audience response and critical feedback, with
many standing ovations. With the support of
Virgin, Circus Oz returned to North America for a
tour in February and March 2014.
We were delighted by the levels of depth in the
production, and enchanted by the acts per-
formed. Hats off to the performers who make
the effort to speak the audience. It is very much
appreciated when the artists show such consid-
eration for their audience. —Montreal Review,
March 2014
Caption describing picture or graphic.
Newsletter Date
A U S T R A L I A N M A J O R P E R F O R M I N G A R T S G R O U P
INTERNATIONAL
TOURING—MEDIA
MTC was invited to present David Williamson’s
Rupert as part of World Stages: International Theater
Festival at the John F. Kennedy Center for Perform-
ing Arts. It was the only Australian theatre company
participating in the Festival.
From The Ground Up …
is overflowing with
goodwill, unleashes a
thunderous energy,
and makes the whole
theatre burst into laugh-
ter with its amusing
gags. Circus Oz, dyna-
mite on stage.— Planet
Quebec Review, March
2014
Family-friendly, experi-
mental, musical, eclectic,
funny, absurd, From The
Ground Up is a complete
success. Circus Oz succeeds
in winning over circus lovers
as well as those who are
new to this exuberance, cir-
cus-style. —Le Journal de
Quebec, March 2014
Family-friendly, experi-
mental, musical, eclectic,
funny, absurd, From The
Ground Up is a complete
success. Circus Oz suc-
ceeds in winning over cir-
cus lovers as well as those
who are new to this exuber-
ance, circus-style.
—Le Journal de Quebec, March
2014
From The Ground Up, although
very physically demanding,
doesn’t take itself seriously. It’s
overflowing with goodwill, un-
leashes a thunderous energy,
and makes the whole theatre
burst into laughter with its amus-
ing gags. Circus Oz, dynamite on
stage. —Planet Quebec
Review, March 2014
CIRCUS OZ cont.
BELVOIR rock and roll theatre. De
Volkskrant, 24 June 2014
Stone measures out the tension
like a DJ, building up to the
unbearable climax. We know
what is coming. But because
of the smart, exasperating
build-up, the shock is still un-
precedented. NR Handelsblad,
24 June 2014
About The Wild Duck:
Stone’s minimalism is powerful-
ly compelling. While the glass
wall between actors and audi-
ence would, you might think,
Belvoir toured Thyestes to
Germany and The Nether-
lands in June 2014. Directed
by Simon Stone Thyestes is a
re-imagining of an ancient
tale. It was commissioned by
Malthouse Theatre.
Belvoir also toured The Wild
Duck to the Barbican’s Inter-
national Ibsen Festival in Oc-
tober 2014.
About Thyestes:
The original is distilled to its
essence. This is the height of
Page 2
INTERNATIONAL TOURING—MEDIA
Thyestes, Mark Winter, Thomas Henning & Chris Ryan
by Jeff Busby
The Melbourne Sympho-
ny Orchestra made its
debut at five series and
music festivals in August
2014 under the baton of
Chief Conductor, Sir
Andrew Davis.
The MSO performed at the: BBC Proms (London),
Edinburgh International Festival, Concertgebouw
Summer Music Series (Amsterdam), Mecklenburg-
Vorpommern Festival at Ulrichshusen (Germany)
and Tivoli Concert Hall (Copenhagen).
The Melbourne Symphony Orchestra—their debut
at the Proms tonight—turned in an amazing per-
formance. Electrifying. Taut. Totally in the zone.
—Jon Jacob, Thoroughly Good
… the verve of Melbourne’s output was among
the best heard in some fifty years of concert-
going. Andrew Davis enthused the musicians while
giving full regard to the interplay of the various
sections. The brightness of brass and apposition of
mellow woodwinds were carefully gauged.
—Ian Gilmour, Edinburgh Guide
MELBOURNE SYMPHONY ORCHESTRA
be distancing, in fact it draws you in like
a glowing microscope slide.—The
Times, 28 October 2014
[Despite the soloist arriving in
Shanghai the previous day
and having only one re-
hearsal with the Orchestra],
the outcome was still unbe-
lievably good. In the concer-
to, the playing of the orches-
tra sounded like Tai Chi …
(Zhang) sounded like a wild
duck drifting on a very quiet
and beautiful lake. —
Chinese Music Weekly, critic
Rudolph Tang
The SSO toured China in
June this year—its third
tour of China in five
years, but the first for
chief conductor David
Robertson. It played
seven concerts in 12
nights—including a
sold-out performance
at the National Centre
for the Performing Arts in
Beijing.
SYDNEY SYMPHONY ORCHESTRA
bach Hall. It also premi-
eres Ostinato at the Fall
for Dance festival at the
New York City Center.
Enough cannot be said
about the unique vis-
ceral stamp of this com-
pany: weighty and mo-
mentous movement
attack, deliriously seam-
less partnering, serious
acting chops from all.
—Orange Country
Register
This October, the Aus-
tralian Ballet returns to
east coast of North
America for the first time
in over 20 years, to
premiere an Australian
classic, Graeme Mur-
phy’s Swan Lake. The
company’s 33rd inter-
national tour will kick off
on 9 October in Los An-
geles at the Music Cen-
ter’s Dorothy Chandler
Pavilion before travel-
ling to Berkeley, open-
ing October 16 at Cal
Performances’ Zeller-
THE AUSTRALIAN BALLET
Malthouse Theatre’s
production of Bertolt
Brecht’s masterpiece
The Good Person of
Szechuan tours to China
in October this year.
It’s heading to both the
Shanghai International
Arts Festival and the Bei-
jing International Thea-
tre Festival.
Page 3
INTERNATIONAL
Reiko Hombo, The Australian Ballet 4 Times Square. Photo
by Lisa Tomasetti
MALTHOUSE
The cast is exceptional,
throwing itself into the
demands of the show
with a sense of almost
reckless courage ...
Meng’s tough and often
very funny production,
punctuated by contem-
porary songs, drags
Brecht’s imaginary
Szechuan into the 21st
century. — The Guardian
In September–October 2014 an
18-day tour included concerts in
London, Berlin, Vienna,
Amsterdam, Cologne, Birming-
ham, Frankfurt, Luxembourg and
Dublin.
In March 2014, the ACO re-
turned to Chicago’s Orchestra
Hall as part of the Chicago
Symphony’s Truth to Power festi-
val, performed in a New York
nightclub and embarked on a
new creative residency in Can-
ada.
This is one of the most pre-
cise, cutting-edge virtuoso
string ensembles to be
found anywhere in the
world.—Chicago Tribune,
2014
... the best chamber or-
chestra on earth. —Daily
Telegraph (UK), Sept 2014
... their alliance [Richard
Tognetti & ACO] has
evolved into one of the
classical music world’s en-
during success stories. —
Irish Times, Oct 2014
AUSTRALIAN CHAMBER ORCHESTRA
INTERNATIONAL TOURING—MEDIA
STATE THEATRE COMPANY SA and WINDMILL THEATRE
The companies’ co-
production of Pinocchio has
been invited to perform a two-
week season at the prestigious
New Victory Theater in New
York City in March 2015.
A merry-go-round of clever
comedy, edgy music, immers-
ing animated visuals and win-
ning performances. —Sydney
Morning Herald
BANGARRA
Bangarra performed in the Netherlands
for the Holland Dance Festival in February
2014.
Bangarra Dance Theatre is a modern
dance company unlike any other…
remarkably imaginative and richly var-
ied…the stage becomes a place of mys-
tery. —New York Times
Mesmerising beauty, sheer poetry and
spiritual power —Dance Europe
Page 4
INTERNATIONAL TOURING—MEDIA
SYDNEY THEATRE COMPANY
Debicki, in a deliciously vulgar
performance) after her plot has
been foiled, if not exposed,
Blanchett's Claire crumples, and
the thinness of her fortitude is
made devastatingly plain. —
Elysa Gardner, USA Today
One of the many achievements
of the Sydney Theater Compa-
ny’s terrific new version of The
Sydney Theatre Company's pro-
duction of The Maids opened in
New York as part of the prestig-
ious Lincoln Center Festival on
Friday 8 August 2014. Jean
Genet’s notorious 1947 tale of
sibling rivalry and murder was
directed by STC Artistic Director
Andrew Upton and Benedict
Andrews, with Cate Blanchett,
Isabelle Huppert and Elizabeth
Debicki.
Some real classy dames are
tearing up the joint at City Cen-
ter, where the Sydney Theater
Company is performing its rip-
roaring production of Jean
Genet’s ‘The Maids’ … I would-
n’t have missed it for the world.
—Ben Brantley, New York Times
[Blanchett] is particularly re-
sourceful, and harrowing, in
showing us Claire's desperation,
which extends to using her mis-
tress's personal items to land the
master in legal trouble. Facing
her employer (Elizabeth
Maids … is that it restores audacity
and high style to a genre that was
looking pretty threadbare, its once
mystifying metaphors now taught
in AP English, its grammar of non
sequiturs and visual puns co-opted
by comedy and commercials … a
superb production of The Maids …
this is the best we’re ever likely to
get. —Jesse Green, New York
Magazine
STC’s production of Waiting for Godot is heading
to London’s Barbican as part of the International
Beckett Season in 2015. It features Luke Mullins
(Lucky), Philip Quast (Pozzo), Richard Roxburgh
(Estragon) and Hugo Weaving (Vladimir) and is
directed by Andrew Upton.
I've seen many productions of this great play,
including one directed by Beckett himself, but
this is the best.— John McCallum, The Australian
It really does seem to encompass the whole of
life. Unforgettable.— Jo Litson, Sunday Telegraph
September 2014 Page 5