12 - 20 OCTOBER, 2018 | CREMORNE THEATRE, QPAC

AN ORDINARY LIFE IS THE MOST EXTRAORDINARY

STORY OF ALL

EXPRESSIONS DANCE COMPANY AND QUEENSLAND PERFORMING ARTS CENTRE

PRESENT

Welcome to Expressions Dance Company’s Everyday Requiem, my Everyday Requiem, my Everyday Requiemfi nal signature work as Artistic Director of EDC.

This work brings my time at EDC full circle. My fi rst full-length signature work was Where the Heart Is in 2010. Like that work, Everyday Requiem, my 7th signature work, contains the themes of family and compelling live music which have become central elements to my vision for EDC over the years.

It is a fi tting way to conclude my directorship and is at an exciting time for EDC. As a company, one of the leading contemporary dance companies in Australia, EDC is entering a new era. It’s a time of positive change and I feel proud to have been a part of its history and development.

So many people have contributed to the success of Everyday Requiem. My thanks go to the Artistic Director of The Australian Voices, Gordon Hamilton, for his beautiful and clever music composition and to his incredible singers – Sophie Banister, Samuel Boyd, Isabella Gerometta, Rebecca Hocking, Jamie Mo� att and David Upcher. Working with this company has been a special and wonderful collaboration.

Thank you also to Stage Designer, Bill Haycock, for his simple and elegant stage design and Lighting Designer, David Walters, for his gorgeous lighting design. Thank you also to associate lighting designer Christine Felmingham for her input.

My thanks also go to our Guest Artist, Brian Lucas, a performer of exquisite artistry and a well respected legend of contemporary dance.

Thanks to Rehearsal Director, Lizzie Vilmanis, who helped bring Everyday Requiem to life with great investment in the development of the work and characters.

My heartfelt thanks go to Wendy Wallace and the dancers from WaW Dance. WaW is a remarkable ensemble and the joy they fi nd in dancing is infectious. Thank you to each of them for their contribution to this production.

As always my thanks go to QPAC and, in particular, to Chief Executive, John Kotzas.

Over the years his faith in this company has been unwavering and QPAC’s support has meant we could continue to present work of an exceptional standard for our valued audience. QPAC’s support has been a game changer for EDC, and I am touched by the huge investment they have put into the company. I know QPAC will continue to play a vital role in presenting EDC’s work into the future. They are invaluable supporters.

EDC’s Board, led by Chair, Marian Gibney, is a wonderful group of people. They provide steadfast support and guidance and will continue to do so as EDC transitions to a new Artistic Director in the coming months. I thank them for everything they have done over the years.

Finally, I thank each of the EDC ensemble of dancers – Richard Causer, Scott Ewen, Isabella Hood, Elise May, Jake McLarnon, Jag Popham and Alana Sargent. It is an honour to work with such brilliant, creative and generous souls every day and I thank them for the passion and devotion they have brought to this work. Unfortunately during rehearsals, Elise May had an injury and is unable to perform the role of The Wife which she worked so hard to develop. She continues as Rehearsal Director for this production. Elise has inspired me so greatly, and supported my vision for EDC unwaveringly. Elise is the only EDC dancer who has been in all of my works. What a privilege it has been to work along side her, we will remain connected forever. I deeply thank Lizzie Vilmanis who has stepped in. She is a beautiful artist who brings poignancy, maturity and artistry to the role, and has made it her own.

It has been my absolute honour and joy to lead EDC over the past decade and I warmly thank each of the dancers and artists I have worked with over that time. They are people I will never forget. They humbled me with their commitment, their honesty, their bravery, and the memories will last a lifetime. I have been touched by the warmth and generosity of our community and I feel fortunate to have played a role in the development of dance in Australia.

I send my best wishes to the next Artistic Director of EDC with the knowledge that this extraordinary company will continue to fl ourish and soar into this exciting new era.

NATALIE WEIRArtistic Director, Expressions Dance Company (EDC)

Welcome to QPAC for this performance of Everyday Requiem by Expressions Dance Company (EDC).

This is an exceptional and extraordinary story of one man’s life throughout the past half century, told through movement and song. With an original score by Gordon Hamilton, performed by The Australian Voices and choreography by EDC’s Natalie Weir, Everyday Requiem is about the moments and memories that make up our lives and how this unique tapestry creates our own personal history. Using the medium of dance, this is a physical journey, powerfully led by Brian Lucas.

Everyday Requiem is particularly poignant in that it will be the fi nal work created by Natalie Weir for EDC during her time at the Company as Artistic Director. Natalie has been a driving force, a visionary, not only at EDC, but also more broadly in her contributions to contemporary dance in Queensland. While it may be sad to see Natalie move onto another great adventure, I am sure you will fi nd this production a suitable and moving goodbye from one of our great creative leaders.

I hope you enjoy this performance and look forward to welcoming you again to QPAC soon.

JOHN KOTZASChief Executive Queensland Performing Arts Centre (QPAC)

Rehearsal Photos by Morgan Roberts

Everyday Requiem is a story about family and about life. The work is viewed through the eyes of an aging man. We meet him at the end of his 70th birthday celebration.

Seventy is certainly not old in this day and age, but the work considers what a person holds most dear as they move into the latter part of their life.

The man, portrayed with great sensitivity by Brian Lucas, begins to refl ect on his life and those moments that he remembers as the most signifi cant. I like the idea that this man is ordinary. He is not a movie star or a celebrity. He could be any of us and certainly his memories relate to many of us. But we celebrate him, an ordinary man.

The old man refl ects on his life through many ages and this is an important part of the work. Three male dancers portray him, through birth and childhood, adolescence and young adulthood, to maturity.

I pondered those moments and the people that we remember most vividly in our later life. The relationship with his mother is unforgettable. We see his relationship with his brother, from early sibling rivalry through to the unspoken pain of an adult fracture in the family.

He will never forget his fi rst love and memories of his wedding day will linger forever, as well as the birth of his daughter.

The man is born in 1948 and takes us through time to the present, 2018. So much has happened through this era.

I will not give the whole story away. That is for you, the audience to experience in the moment.

I have tried to approach this work with a sense of nostalgia for the past, but even more, with a sense of what is important in moving forward for a 70 year old man.

Forgiveness, acceptance, love and family – surely that is what is important. The small things are not important towards the end of life. It is family, connection and celebration of the age you are in. You can’t change the past. You can come to terms with accepting it, fi nding resolution, celebrating it and looking forward to the greatest years yet to come.

Aging is inevitable. It’s the celebration of a wisdom that is incomparable.

My thanks to all involved in the making of this work, but especially to the EDC dancers whose creation of the movement, the character development, the story and the overall work has been extraordinary. I have been so touched by their commitment, enthusiasm and trust in me.

I hope Everyday Requiem resonates with you.

NATALIE WEIR

CHOREOGRAPHER’S NOTE

Rehearsal Photos by Fiona Cullen

MUSICAL DIRECTOR/COMPOSER’S NOTEGORDON HAMILTONARTISTIC DIRECTOR - THE AUSTRALIAN VOICES

In making Everyday Requiem, the singers and I have aimed for simplicity and beauty, interacting with jarringly everyday imagery.

In bringing singers and dancers together for a requiem, we are returning to the ways of the fi rst requiems, sung to plainchant (unison unaccompanied) tunes. The use of the human voice as an instrument forms a natural fi t to the human body as a vehicle of expression. The music has been devised in collaboration with singers and dancers, a process which I’ve really enjoyed.

In our piece, strains of the traditional Latin requiem text fl oat in and out of earshot. In contrast to this, we’ve also delighted in fi nding banal sources of text, such as lists of dates, items found in a child’s backpack, or the pet names given to a lover.

The work includes some unusual vocal techniques, including singing while gargling, whispering, shouting and shivering.

Tibetan musician Tenzin Choegyal has kindly granted us permission to use his original song Heart Sutra as a recurring leitmotif, signifying celebration. The text translates as: “The awakened one / Gone, gone / Gone beyond / Gone further beyond / So be it“.

DESIGNER’S NOTEBILL HAYCOCKEveryday Requiem has evolved to be the story of an Australian bloke. He’s an ‘ordinary old bloke’ you might see at the weekend Bunnings sausage sizzle or buying something inside for his garden or to work on in his shed. It interested me that this was a life rarely explored in contemporary dance.

Our aim was to explore this territory – a life, seemingly quite ordinary, with similarities for many, in a quietly poetic way. Deciding that Brian’s character should be celebrating his 70th at a party led us to create the timeline of this life and for us to think how his life criss crossed Australian history from 1948. The costumes very simply nod to this passing of time, exploring the power of memory to both fi x and shift our remembrance of key meetings and moments. The set also evolved to be a gently shifting memory box into which the memories of a full life could be evoked and re-examined.

Rehearsal Photo by Fiona Cullen

CREATIVE TEAM

Choreographers Natalie Weir

with the EDC Dancers

Musical Director/Composer Gordon Hamilton

Designer Bill Haycock

Lighting Designer David Walters

Associate Lighting Designer Christine Felmingham

Rehearsal Directors Lizzie Vilmanis

Elise May

CAST

EDC Dancers Richard Causer

Scott Ewen

Isabella Hood

Jake McLarnon

Jag Popham

Alana Sargent

EDC Guest Artists Brian Lucas

Lizzie Vilmanis

The Australian Voices Sophie Banister

Samuel Boyd

Isabella Gerometta

Rebecca Hocking

Jamie Mo� att

David Upcher

NATALIE WEIRArtistic Director, EDCChoreographer

Choreographer Natalie Weir is known internationally for her highly physical partner work, her organic movement style and her touching insight

into humanity. Natalie is a QUT alumna and was a founding member of Expressions Dance Company. She has created over 170 professional works in her 30 year career, including major new works for world class companies such as The Australian Ballet, Queensland Ballet, West Australian Ballet, Houston Ballet, Singapore Dance Theatre, Hong Kong Ballet and American Ballet Theatre. Natalie was resident choreographer for The Australian Ballet and Queensland Ballet. She was then appointed EDC’s Artistic Director in 2009, fulfi lling her dream to build an ensemble of dancers and contribute to the future of Australian dance. Natalie has also been the recipient of both an Australia Council fellowship and the Lord Mayor’s Fellowship. Her signature works with EDC have earned numerous Helpmann and Australian Dance Award nominations.

GORDON HAMILTONArtistic Director, TAVMusical Director / Composer

Several of Gordon’s compositions subvert expectations of the orchestra, including Thum Prints (for beatboxer Tom Thum and orchestra) and 482 Variations

on a Very Short Theme. His Action Hero pairs the recorded voice of Arnold Schwarzenegger with orchestra. In 2018-19, Gordon will conduct the WDR Funkhausorchester, the Nürnberger Symphoniker, the NZ Symphony Orchestra and Sydney Symphony Orchestra. Gordon has arranged and conducted crossover projects, including with Hiphop duo Horrorshow and Cuban pianist Marialy Pacheco. In 2018 he collaborated with rapper-poet Luka Lesson on Macquarie. Gordon became Artistic Director of The Australian Voices (TAV) in 2009. Of their concert in New York City, the New York Times wrote “... it was as if the gates of heaven had opened.” Gordon’s choral opera MOON toured with TAV round Australia and to Germany and the Edinburgh Fringe. In 2014 TAV made headlines with their video of Rob Davidson’s Not Now, Not Ever! – a musicalisation of Julia Gillard’s ‘misogyny’ speech.

THE CREATIVE TEAM

WaW Dance Liaison: Wendy Wallace

Jan Addison

Felicity Begley-Mills

Desleigh Byrne

Steve Capelin

Nereda Denington

Julie Denniss

Gary Frontin

Beverley Giles

Beverley-Anne Jansen

Judy MacSporran

Paula Maddern

Robyn Martin

Shona McKenzie

Lynne Samson

Anni Webster

Christine Wickson

PRODUCTION TEAM

Production Manager Nick Engler

Stage Manager Ariana O’Brien

Head Electrician Chris Goeldner

QPAC Lighting Technician Andrew Haden

QPAC Audio Technician Haley Thor

Anna Whittaker

Costume Maker Frances Pyper

Wardrobe Assistant Lindsay Wilkins

Special Guests - WaW Dancers

BILL HAYCOCKDesigner

Designer Bill Haycock’s extensive career in the creative arts spans over 30 years. He fi rst teamed with Natalie Weir on Medea for the Queensland Ballet in 1992 and

since then has designed and co-created ten works with her, including Burning (Queensland Ballet), MirrorMirror (The Australian Ballet), and MirrorMirror (The Australian Ballet), and MirrorMirrorin 2003 he co-conceived and designed the award winning Turandot (Hong Kong Ballet), followed by Madama Butterfl y in 2005 (Hong Madama Butterfl y in 2005 (Hong Madama Butterfl yKong Ballet) for which he won a Hong Kong Dance Award. Some of Bill’s designs include: Don’t, Carmen Sweet, When Time Stops, 7 Deadly Sins (EDC), Peter Grimes (Brisbane Festival), Cabaret (Zen Zen Zo), Romeo and Juliet, Gloria (QTC), Stradbroke Dreamtimeand End of the Rainbow (QPAC/QTC), 1001 Nights (Zen Zen Zo/QMF/QTC), 10 Hands and Sharehouse (Topology), Candide (OQ) and Prize Fighter (La Boite).

DAVID WALTERSLighting Designer

David Walters has worked as a Lighting Designer for 40 years. His work experience spans opera, theatre, ballet, dance, puppetry, circus, exhibitions, major events and

architectural installations. David’s work in Iceland as a freelance lighting designer has led him to be recognised as one of the pioneers in the fi eld. David has worked extensively throughout Australia and designed for Melbourne Theatre Company, Sydney Theatre Company, State Theatre Company of South Australia, Handspan, Playbox, La Boite, Rock ‘n’ Roll Circus, Nimrod, Company B, Queensland Ballet, The Australian Ballet, Opera Queensland, Opera Australia, Queensland Theatre, Brisbane Powerhouse, Queensland Performing Arts Centre, Zen Zen Zo, Topology and Bell Shakespeare Company with tours in Australia and overseas. He has lectured in lighting design and is an Adjunct Associate Professor at Queensland University of Technology. David has a long history of work with EDC including Behind Closed Doors, 7 Deadly Sins, When Time Stops and R&J.CHRISTINE FELMINGHAM

Associate Lighting Designer

Christine has previously worked with David Walters on numerous projects including; Ladies in Black (Queensland Ladies in Black (Queensland Ladies in BlackTheatre), Lest we Forget (Queensland Ballet) and Prize

Fighter (La Boite Theatre Company). She has Fighter (La Boite Theatre Company). She has Fighterbachelor’s degrees in Technical Production and Drama through QUT and during that time seconded to David Walters, Ben Hughes, Matt Scott and Jason Glenwright. She has created lighting designs for Rovers (Belloo Creative);The Sound of a Finished Kiss (Now Look Here); Crunch Time (Counterpilot); The Dead Devils of Cockle Creek (Playlab and La Boite); Devils of Cockle Creek (Playlab and La Boite); Devils of Cockle CreekSpectate (Counterpilot); Short+Sweet 2017(Short+Sweet QLD); Splendour (Now Look Splendour (Now Look SplendourHere); Short+Sweet 2016 (Short+Sweet QLD); Allen (Awkward Productions); Architects Reborn: Arena Spectacular (Architects of Sound); A Slight Ache & The Lover (Now Look Here); Ache & The Lover (Now Look Here); Ache & The Lover Children of the Sun (QUT Acting); Of Little Matter (Vena Cava Productions) and Iphigenia 2.0 (Vena Cava Productions).

ELISE MAYAssistant to the Artistic Director Rehearsal DirectorEDC Ensemble Member

Elise is a dancer, choreographer, teacher and video artist who has worked as an independent artist in Australia and internationally,

as well as a member of EDC (since 2008). Elise has worked internationally in Taiwan, the US, South Korea, Switzerland and extensively in China. Elise has choreographed works for EDC including Lumen Body, Propel and the 2018 Helpmann Award nominated Mozart Airborne, as well as choreography for Opera Australia’s Aida. Elise has also choreographed for the 2017 Guangdong Modern Dance Festival in China. Elise was nominated for a 2018 Helpmann award for Best Female Dancer in Behind Closed Doors and in 2012 was awarded the Australian Dance Award for her performance in R&J. Elise completed a Masters of Arts by Research at QUT in 2016, through which she created Shifting Lenses, a solo performance installation which investigated the use of moving image and digital media in live performance.Elise is supported by donors Paul Newman and Lucy Bretherton

10 YEARS OF NATALIE WEIRIn her decade as Artistic Director of EDC, Natalie Weir has made a great contribution to the company and to contemporary dance theatre in Australia.

Natalie’s choreographic talent has been recognised repeatedly through deserved awards, nominations and critical acclaim. As Artistic Director, Natalie has created 19 new and acclaimed contemporary dance works for the company. The creation of high quality new work is a considerable undertaking; Natalie’s creation of such work for EDC is an extraordinary achievement for any choreographer/Artistic Director. It has been possible only because of Natalie’s exceptional creative energy and profound commitment to her art. Natalie has delighted the company’s increasing audiences with the emotionally driven narrative of her work. Natalie’s work amazes with its physicality and capacity to engage the heart and mind, communicating the gamut of emotions through movement, music and stories.

Nurturing and inspiring young dancers, to ensure a vibrant future for Australian contemporary dance, has been another hallmark of Natalie’s tenure at EDC. Under her leadership, the company’s dance education programs, encompassing the Brisbane Contemporary Dance Intensive (BCDI), the company’s training partnership with QUT Dance and, in 2018, the successful pilot of a Youth Ensemble, have fl ourished.

Collaboration is at the heart of Natalie Weir’s approach, with creative partnerships with a diversity of artists and creatives in every EDC season. This has provided opportunities for other artists, particularly those based in South East Queensland, enriching the cultural sector far more broadly than through dance alone.

Underlying everything which Natalie does is a deep belief in the power of dance to speak to us and to enrich our lives. To those privileged to work with Natalie during her time as Artistic Director, her grace under pressure, her selfl ess sharing of her talent and her support of all around her, especially her beloved ensemble dancers, has been both humbling and inspiring. We thank Natalie sincerely for all that she has contributed to EDC as Artistic Director.

MARIAN GIBNEYCHAIREXPRESSIONS DANCE COMPANY (EDC)

Where The Heart Is (2010). Photo by Fiona Cullen

The Host (2015). Photo by Megan Cullen

Carmen Sweet (2013). Photo by Dylan Evans

The Red Shoes (2014). Photo by Chris Herzfeld

R&J (2011). Photo by Fiona Cullen

When Time Stops (2013). Photo by Dylan Evans

7 Deadly Sins (2015). Photo by Chris Herzfeld

RICHARD CAUSERThe Mature Man

Richard joined EDC in 2006 after completing a BA Fine Arts (Dance) at QUT and has since been working as a dancer, choreographer and teaching artist nationally and

internationally. He is the recipient of multiple awards and nominations for the Australian Dance Awards and Helpmann Awards. Richard spent 2012- 2015 working in London and Europe with various dance and theatre companies as well as independent choreographers, before returning to EDC in 2016. As a choreographer, he has created many works for companies, training institutions and competitions across Australia and overseas, such as Malaysian Dance Festival, Aboriginal Centre for the Performing Arts, EDC, QUT, Third Row Dance Company (UK), Centre of Advanced Training (UK), Inky Cloak Theatre Company (UK), and Raw Moves Dance Company (Singapore). Richard’s works for EDC include his ADA nominated solo Wilhelm Scream, Das Lied De Trennung for the Helpmann Award nominated OperaQ collaboration Mozart Airborne, and most recently Imposters for the 2018 triple bill Converge - a collaboration with the Queensland Conservatorium.

THE EDC ENSEMBLEBRIAN LUCAS The Old ManGuest Artist

Brian Lucas is a Brisbane based performer, choreographer, director, educator and mentor whose career spans almost four decades. Trained in both dance and acting, he has a

national reputation for creating and performing provocative, powerful and intelligent works that bridge the divide between the two forms. Brian joined Expressions Dance Company in 1987, and spent over seven years with the company as a dancer, choreographer and (eventually) Assistant Artistic Director. Since 1994, he has created a number of acclaimed full length solo works including Underbelly, book of revelations, Performance Anxiety, monster and Performance Anxiety, monster and Performance Anxiety, monster De Profundis(in collaboration with David Fenton). Brian has also gone on to work with many well known performance makers and companies including Chunky Move, DV8 Physical Theatre, La Boite Theatre, Metro Arts, Blue Roo Theatre, KAGE Theatre, Clare Dyson, ChamberMade Opera, Circa, Dance North, The Queensland Ballet, Queensland Theatre Company, Opera Queensland, and QL2 Centre for Youth Dance.

JAKE MCLARNONThe Adolescent and Young Man

Born in Perth, Jake completed his training at WAAPA, performing in numerous contemporary and ballet works by renowned choreographers such as George Balanchine,

Raewyn Hill and Xiaoxing Zhang. Jake joined Australian Dance Theatre (ADT) for its European tour of Garry Stewart’s Proximity then joining Proximity then joining Proximitythe ensemble full time. Other ADT highlights include the Australian season of Garry Stewart’s Proximity, Be Yourself and Birdbrain. In 2015 Jake choreographed for the RAD Festival in Perth and its 80th Anniversary Gala in Adelaide. Jake fi rst performed with EDC as a guest artist for the 2016 remount of When Time Stops before returning to ADT to perform Objekt by Garry Stewart. Jake became an EDC company member later that year. As a choreographer, Jake has collaborated with visual artist Matt Sheridan and TWFine Art to create a work for the 2017 Tenerife Festival, and most recently created Isochronism for EDC’s Converge, which was also performed at the 2018 Australian Dance Awards.

JAG POPHAMThe Man’s Infancy and Childhood

Jag Popham, born in Auckland, New Zealand, started dancing at age three training in classical ballet, contemporary and capoeira. He trained at the New Zealand School of Dance majoring in contemporary,

gaining his Certifi cate in Dance Performance.Everyday Requiem is Jag’s third production with EDC, having most recently performed in Converge and Black, which premiered at QPAC in 2016 and later that year toured fi ve venues in Guangdong province, China. Through di� erent avenues Jag has had the privilege to work with established artists such as Kuik Swee Boon, Stephanie Lake, Sarah Foster-Sproull and Okareka Dance Company.

SCOTT EWENThe Brother

Scott attained his Bachelor of Arts (Dance) from the Western Australian Academy of Performing Arts (WAAPA), graduating with the Hawaiian Award for the Most Outstanding Graduate. Since then, Scott has

worked with many of Australia’s most acclaimed companies and choreographers including Garry Stewart and Daniel Jaber / Australian Dance Theatre, Larissa McGowan and Marnie Palomares / Tasdance, Shaun Parker / Buzz Dance Theatre, Sue Peacock, Chrissie Parrott, Alice Lee Holland and Tobiah Booth-Remmers. Internationally, Scott joined ilDance Company where he performed in the international co-production of GODLIKE by GODLIKE by GODLIKEIsrael Aloni and Odelya Kuperberg across Israel and Sweden. He also performed in works by Brazil’s Leda Muhana and Taiwan’s Jin-Wen Yu at the 2010 World Dance Alliance Global Festival in New York City. Since 2013, Scott has been choreographing and teaching all over the world and his works have been performed throughout Australia/New Zealand, Asia, North America, Europe and Africa.

ISABELLA HOODYoung Love

Isabella began her dance training under the directorship of Dale Coles at Toowoomba School of Dance. She went on to graduate fi rst class in BA(Hons) of Fine Arts (Dance Performance) at

QUT in 2017. During her studies, she performed choreography by Lucas Jervies, Richard Causer, Gareth Belling, Natalie Weir and Graeme Murphy, and took part in a week long intensive with Lloyd Newson (DV8). In 2017, Isabella’s Honours research led her to perform alongside EDC in Natalie Weir’s Behind Closed Doors, Mozart Airborne and Opera Australia’s Aida on the Beach. This year she commenced as a trainee dancer and danced in the QPAC season of 4Seasons as well as the Chinese Australian Dance Exchange tour. She is excited and honoured to join the company once again for Everyday Requiem, Natalie Weir’s fi nal work as Artistic Director.

LIZZIE VILMANISThe Wife Guest Artist / Rehearsal Director

An experienced performer, choreographer, director, rehearsal director, teacher, arts consultant and researcher, Lizzie’s career

began with EDC in 2000 before she joined Leigh Warren and Dancers in 2009. From 2014 she has been an independent artist, co-director/performer of Prying Eye, and rehearsal director for EDC, also rehearsal directing for Dancenorth from 2017. Lizzie has performed major roles nationally and internationally, worked with leading choreographers, collaborated with high calibre artists, created and showcased works for prestigious companies and festivals, and taught for leading organisations around the world. She returns to EDC following her engagement as rehearsal director for EDC and City Contemporary Dance Company’s 4Seasons (Hong Kong/ Brisbane/Darwin/Beijing), Dancenorth’s Rainbow Vomit (National Tour) and Natalie Weir’s Jabulafor Ballet West (Salt Lake City), and as creator/performer for Prying Eye’s The Inquisition of the Big Bad Wolf (Brisbane/Adelaide). Lizzie also the Big Bad Wolf (Brisbane/Adelaide). Lizzie also the Big Bad Wolfholds a Master of Arts (Research), is a freelance arts consultant and Management Committee Secretary of Supercell: Festival of Contemporary Dance Brisbane.

ALANA SARGENTThe DaughterEDC Social Media Assistant

Alana graduated from the New Zealand School of Dance in 2010. In her third year of training she was o� ered an apprenticeship with Sydney Dance Company sponsored

by Foxtel, who chronicled her experience as a dancer into a documentary. This led to a full time position in 2012. Alana performed with the company for four years working with numerous choreographers including Jacopo Godani, Andonis Foniadakis, Alexander Ekman, Emanuel Gat and Stephanie Lake. Her performances included Rafael Bonachela’s Frame of Mind,which won Best Choreography in a Dance Work and Best Dance Work at the 2015 Helpmann Awards. Alana joined EDC as a company dancer in 2016. She is also a costume designer, and has created costumes featuring in Sydney Dance Company’s New Breed, Liesel Zink’s Inter at Flowstate and EDC’s Propel and Converge. Alana also recently joined the EDC marketing team as Social Media Assistant.

THE AUSTRALIAN VOICES

SOPHIE BANISTERThe Mother

Sophie Banister is a writer, actor, songwriter and chorister with The Australian Voices. In recent times, Sophie has been known for her original comedy cabarets, which she has

performed throughout Brisbane and Australia in festivals such as Queensland Cabaret Festival, Melbourne Fringe Festival and Short+Sweet. This year she has become a recipient of the Lord Mayor’s Young and Emerging Artist Fellowship, which she is using to pursue further writing and comedy training in New York. On top of performing her own work and singing with The Australian Voices, Sophie also teaches music in early childhood centres for the Rhapsodaisy Music Program, and has worked as a workshop leader, performer and puppeteer in large scale spectacles at Woodford Folk Festival and Queensland Music Festival. She currently runs the Access Arts Singers, a choir for people who identify as living with a disability.

SAMUEL BOYD

Samuel Boyd graduated from QUT in 2013, and holds a Bachelor of Fine Arts (Drama). Samuel has performed at MetroArts, Anywhere Theatre Festival, and Woodford Folk Festival. Samuel was sound

designer on Cosi (La Boite, 2014), and was production assistant and sound designer on A Tribute of Sorts and A Dinner with Gravity(La Boite Indie, 2012). Samuel has performed at Adelaide Fringe Festival, Melbourne International Singers Festival, and Festival of Voices, and performed in The Singing Politician, which premiered at QMF in 2017, and performed at Brisbane Festival and MONA in 2018. He regularly performs with the QSO, with highlights including The Trillion Souls (2015), and 2001: A Space Odyssey at World Science Festival A Space Odyssey at World Science Festival A Space Odyssey(2017). He co-conceived Boombox, which performed at Brisbane Powerhouse and o� Broadway at The Lounge New York in 2015, and will tour in 2019. Samuel is currently the Marketing Coordinator for Circa Contemporary Circus and arTour.

ISABELLA GEROMETTA

Isabella Gerometta is an emerging Australian composer and conductor. Her works have been performed nationally and internationally at venues such as the Musica Viva Festival,

New York City’s ‘The Lounge’, the Palestine Choral Festival and the contemporary music festival QSO Current with world premieres by the Queensland Symphony Orchestra, Perth Symphony Orchestra and Camerata – Brisbane’s Chamber Orchestra. She has prepared and directed choruses for a number of events with the Queensland Symphony Orchestra, working alongside internationally recognised conductors such as Simone Young and Alondra de la Parra. From 2015-16 she was composer-in-residence with The Australian Voices and has been singing with the group since 2014. In 2018 Isabella co-composed for Richard Causer’s work Imposters and in EDC’s triple bill season Converge at the Conservatorium Theatre.

REBECCA HOCKING

Nineteen year old soprano Rebecca Hocking began singing lessons at the age of 11 and is currently studying voice at the Queensland Conservatorium of Music under the guidance of

Christina Grønborg. Rebecca graduated from Brisbane State High School where she was awarded the John Kerruish/Andy Farmer Bursary Award for Voice. Rebecca has performed at Sydney Opera House, QPAC, Sydney Town Hall, City Recital Hall, NSW Government House, Sydney Conservatorium of Music and Queensland Conservatorium of Music. Highlights from Rebecca’s extensive performance repertoire include: performing as an associated artist with the Idea of North, Katie Noonan, Dami Im, Lior and the NSW Public School Singers. As a member of The Australian Voices, Rebecca has performed with the Queensland Symphony Orchestra and toured Hobart and the Sunshine Coast.

THE AUSTRALIAN VOICES

It is with high artistic energy that The Australian Voices (TAV) commission and perform the work of Australian composers. 2018 commissions include Lachlan Skipworth, Lisa Young, Alice Chance, Joe Twist and Gordon Hamilton.

Recently TAV has recorded new works intended for “performance” on YouTube. Hamilton’s composition The 9 Cutest Things That Ever Happened (2013) has been viewed over one million times. In 2014 they made international headlines with a video of Rob Davidson’s Not Now, Not Ever! (2014), a musicalisation of Julia Gillard’s ‘misogyny’ speech.

Their album for Warner Classics (2012) was observed by Gramophone Magazine to “boast a crisp, resonant delivery of the sonic goods under Hamilton’s confi dent direction.” In 2013 they released a songbook with Edition Peters and in 2016 an album for ABC Classics.

Recently the group has brought their distinctly Australian sound to audiences in Guatemala, Mexico, China, the UK, Germany, New Caledonia, USA, Palestine, Woodford Folk Festival and Hobart Festival of Voices.

The Australian Voices are ensemble-in-residence at the Queensland Symphony Orchestra and are excited to share the stage with Expressions Dance Company in Everyday Requiem.

www.theaustralianvoices.com.au

theaustralianvoices

@TheAustVoices

theaustralianvoices

WaW DANCE

WaW Dance is a creative and innovative ensemble of mature aged women led by professional arts practitioners Wendy Wallace and Wendy McPhee. WaW Dance o� ers dance technique classes and performance opportunities that celebrate the joy of dance and inspire change in the perception of mature women. For Everyday Requiem WaW Dance welcomes Gary Frontin and Steve Capelin as guest performers.

www.wawdance.com

wawdance

email: wawdance@gmail.com

JAMIE MOFFATT

Jamie studied at the Elder Conservatorium and has worked with the State Opera of South Australia including the première of Jake Heggie’s Moby Dick; has

done nine national tours with the Co-Opera company and international tours of The Marriage of Figaro, Acis and Galatea, and Die Fledermaus, including an appearance at the Maifestpeile in Wiesbaden, Germany. In 2013 Jamie joined The Australian Voices with major tours including Boombox in New York; Australian national tours of The Singing Politician and MOON; and as one of six guest artists in the La Voix Du Sud festival in New Caledonia. Jamie is also a member of the multi award winning Festival Statesmen Chorus and performs as a solo cabaret artist in tours and festivals nationally. In 2017 Jamie founded Elephant In The Room Productions which toured his work Midnight Sun including an appearance this year at the national Festival of Voices in Hobart.

DAVID UPCHER

David Upcher is a freelance musician and audio-visual artist based in Brisbane. He studied Animation and Music Production at Queensland University

of Technology, specialising in live visual performance. In 2018 his live visuals were featured at Oscilloscape, accompanying experimental performances by Nicole Carroll, Hannah Reardon-Smith and Marly Lüske. In his two years with The Australian Voices, David has sung concerts in Sydney, Canberra, Hobart and Cairns. In 2017 he toured with The Australian Voices in Central America, performing at Festival Enlace Coral in Guatemala as well as Navidad en México, conducted by Alondra de La Parra.

Expressions Dance Company acknowledges the assistance of the Queensland Government through Arts Queensland and the Australian Government through the Australia Council, its arts funding and advisory body.

The development of Everyday Requiem was supported by the Major Festivals Initiative (MFI),

administered by the Confederation of Australian International Arts Festivals with the Australia Council for the Arts.

$100 and under Lyndall Barnett Margaret Bennett Connor DaviesTeresa DochertyKellie Hansen - Danzart StudioNovita JurryAmanda LudlowKaren O’DeaC J (John) ParkerAnnie PotterNina PsaltisAndrew RobertsonAngela Ro� Anne Williamson

$100 - $499Anonymous Donor Sheena Burnell Kathie ElliottRhyll Gardner David Hardidge Anthony KeaneAnthony Kung Shannon LordElizabeth MorrisSandra PearceAllan Smith

$500 - $1000Karen MitchellRoxanne HopkinsEnglish Family Foundation

$1000 - $1499Anne and Peter Allen Melissa Blight

$1500 - $1999Lori Lowther Ken MacDonaldHonor MorningstarRichard Scott

$2500Andrew Battersby Sophie Mitchell

10,000+Patricia McDonald Memorial Foundation

EDC would like to acknowledge the donors who have generously contributed in 2018

Thank you.

Make a donation today

expressionsdancecompany.org.au

Expressions Dance Company is a registered Australian charity. All donations of $2 or more are tax deductible.

EXECUTIVE STAFFChief Executive: John KotzasExecutive Director – Stakeholder Engagement Strategy: Jackie BranchExecutive Director – Visitation: Roxanne HopkinsExecutive Director – Business Performance: Kieron RoostActing Executive Director – Curatorial: Bill Jessop

QPAC PRODUCTION CREDITSDirector – Programming John GlennExecutive Producer – Programming Georgia HendyProgram Development Manager Janelle Christofi sMarketing Manager Alex HollowayEvent Manager Chris Horne

Cnr Grey & Melbourne Streets, South BankPO Box 3567, South Bank QLD 410107 3840 7444

qpac.com.au

atQPAC

@QPAC

@ATQPAC

QPAC respectfully acknowledges the Traditional Owners of the Lands across Queensland and pays respect to their ancestors who came before them and to Elders past, present and emerging.

Patrons are advised that the Performing Arts Centre has EMERGENCY EVACUATION PROCEDURES, a FIRE ALARM system and EXIT passageways. In case of an alert, patrons should remain calm, look for the closest EXIT sign in GREEN, listen to and comply with directions given by the inhouse trained attendants and move in an orderly fashion to the open spaces outside the Centre.

ACKNOWLEDGEMENTThe Queensland Performing Arts Trust is a statutory body of the State of Queensland andis partially funded by the Queensland Government

The Honourable Leeanne Enoch MP, Minister for Environment and the Great Barrier Reef, Minister for Science and Minister for the Arts

Director-General, Department of Environment and Science: Jamie Merrick

ABOUTQUEENSLAND PERFORMING ARTS CENTREQueensland Performing Arts Centre (QPAC) is one of Australia’s leading centres for live performance. QPAC is a venue, a producer, an investor, a presenter and a public place. Welcoming over 1.3 million visitors to more than 1200 performances each year, we embrace the best in live performance – the world renowned alongside the emerging, local and new – and connect to the stories and ideas at the heart of each production.

ABOUT EXPRESSIONS DANCE COMPANY

Established in 1984 and based within Brisbane’s Judith Wright Centre of Contemporary Arts, Expressions Dance Company (EDC) is a leading contemporary dance company. In addition to presenting an annual program of world-class contemporary dance theatre at QPAC and other Brisbane venues, EDC embarks on Australia-wide and overseas tours. Under the leadership of Artistic Director Natalie Weir, the company has earned numerous Australian Dance Award and Helpmann nominations. EDC is currently engaged in the Chinese Australian Dance Exchange Project, which is a groundbreaking partnership with three acclaimed Chinese contemporary dance companies.

BOARD OF DIRECTORS

Marian Gibney (Chair)Tony Denholder (Deputy Chair)Roxanne HopkinsRhyll GardnerJan IrvineDare PowerNatalie Weir

TEAM

Artistic Director Natalie WeirInterim General Manager Jan IrvineAssistant to the Artistic Director Elise MayProduction Manager Nick EnglerCompany Manager Jade EllisActing Marketing and Sponsorship ManagerLiana CantaruttiMarketing Consultant Kirsten BartholomewAdministration O� cer Michelle BarnettSocial Media Assistant Alana SargentMarketing Intern Breanna FentonAccountant Karen MitchellBookkeeper Elizabeth Lepua

Cover and promotional photos: Dylan Evans

expressionsdancecompany.org.au

expressionsdancecompany

@_EDC

edcaus

Judith Wright Centre of Contemporary ArtsLevel 3, 420 Brunswick StreetFortitude Valley QLD 400607 3257 4222

expressionsdancecompany

@_EDC

edcaus edcaus

BOARD OF DIRECTORSProfessor Peter Coaldrake AO (Chair)Leigh Tabrett PSM (Deputy Chair)

TRUST MEMBERSDare PowerSusan Rix AMLeanne de Souza

EDC would like to acknowledge the donors who have generously contributed in 2018