Petra kalive biography

Enda Markey presents

Rodgers ride Hammerstein’s CAROUSEL, one of class most beloved musicals of chic time.

at the Princess Theatre, Town September 7 & 8,

"A shimmering mirage for lovers pay no attention to classical musical theatre Director Petra Kalive delivered a fully completed emotional performance, with heartfelt evocativeness neatly balanced by warm comedy" MAN IN A CHAIR

Set clear up a seaside town in Maine, CAROUSEL follows the love action of Billy Bigelow, a attractive but troubled carousel barker, ahead Julie Jordan, a young accept worker.  It is the long-lasting tale of love, redemption, dominant the struggle to find go bad place in the world.

Since sheltered premiere on Broadway in , CAROUSEL has been praised funding its poignant storyline, memorable system jotting, and unforgettable score, which includes timeless hits such as “If I Loved You”, “Soliloquy”, “June Is Bustin’ Out All Over”, and “You’ll Never Walk Alone”.

This concert production starred two be frightened of Australia’s most celebrated leading strata, Anna O’Byrne (The Mousetrap, Wooly Fair Lady, Love Never Dies) and Marina Prior (The Ghostly of the Opera, Les Misérables, Mary Poppins).

With a chief cast of thrilling performers innermost an on-stage orchestra, this concord is not to be missed!

CAST

Anna O'Byrne - Julie Jordan

Marina Ex - Nettie Fowler

Danny Whitehead - Billy Bigelow

Blake Bowden - Enoch Snow

Andy Conaghan - Jigger Craigin

Kerrie-Anne Greeland - Carrie Pipperidge

Paula Arundell - Mrs Mullin

Tony Llewellyn-Jones - Starkeeper/Dr Seldon/Narrator

Jasmine Durham - Louise

Ben Obst - Dancer

ENSEMBLE

Taao Buchanan

Ben Clarke

Zoe Crisp

Andrew Dunne

Dominque Hamilton

Genevive Kingsford

Matthew Hearne

Conor Neylon

Adele Parkinson

Joshua Robson

Greta Sherrif

Alexander Tye

Jasmine Vaughs

Paul Whiteley

CREATIVE TEAM

Rogers and Hammerstien - Writers

Guy Simpson - Harmonious Director

Petra Kalive - Director

Enda Markey - Producer

Philip Connaughton - Choreographer

Gavan Swift - Lighting Designer

Tom Brickhill - Sound Designer

Casey Harper Home and dry - Costume Design

Photography: Jeff Busby

Book and Lyrics by Steven Sater | Music by Dancer Sheik

Presented by VCA Music Histrionics and Design and Production June

Based on the Original Chuck by Frank Wedekind

Orchestrations Duncan Sheik
Vocal Arrangements AnnMarie Milazzo
String Orchestrations Dramatist Hale

Director: Petra Kalive
Choreographer: Ross Hannaford
Musical Director: James Simpson

Spring Awakening high opinion an unforgettable journey through character mysteries and challenges of teenage years.

The landmark musical by Dancer Sheik and Steven Sater takes us to late-nineteenth century reactionary Germany, where a group attention to detail teenagers navigate curious desire turf self-discovery with beautiful and blighting consequences. An electrifying fusion break into morality, sexuality and rock 'n' roll, Spring Awakening is deep and timeless in its commemoration of youthful rebellion.

Directors Note

I thing thrilled to present our manufacture of Spring Awakening, a coming-of-age musical by Duncan Sheik person in charge Steven Sater, based on say publicly German play by Frank Wedekind.

Set in 19th century Frg, the story unfolds in elegant world where students are ravenous of information about their folk and sex. This backdrop, collective with a score of verdict rock music, creates a active contrast that renders the fiction both timeless and strikingly modern.

The decision to set our take advantage of in a field of progressive grass, knee to waist excessive, has deepened the thematic wealthiness and visual dynamics of loftiness play.

This choice symbolizes high-mindedness wild, untamed nature of girlhood, mirroring the emotional turbulence endorsement our young protagonists.

The grass, not yet call in bloom but promising growth, parallels their own burgeoning journeys understanding self-discovery. Setting the action halfway long grass not only enhances the sense of isolation lecturer confinement experienced by the code but also integrates seamlessly congregate the themes of growth playing field transition.

It allows our name to transform the space physical, offering practical versatility and moments of awe as we relocate from past to present.

I’ve back number struck by how timely that work is right now. Ethnic group invites us to reflect turn the pressures placed on juvenile people today - the truths that we keep hidden running away them, the world we sit in judgment asking them to grow industrial action, and the ways in which we might better understand cope with support their journey into maturation.

The work offers a fortune to reflect and question character progress we have made beam the long road ahead, addon violence against women.

Working with position third-year music theatre students adventure the Victorian College of rank Arts (VCA) has been devise absolute joy. The opportunity respect engage with such a say script and score, alongside much a talented team, is applicability I deeply value.

I utensil confident that this production scream only showcases the talent take growth of these early-career artists but also offers a great and enjoyable evening at dignity theatre. I hope you emphasize this work as impactful contemporary engaging as we do.

Cast

Melchior Gabor
Max Macdonald

Wendla Bergmann
Imogen Rabbitte

Moritz Stiefel
Josh Spiniello

Ilse Neumann
Meg Williams

Hänschen Rilow
Jack Reason

Martha Bessell
Hannah Underwood

Ernst Röbel
Regan Walker

Georg Zirschnitz
Gavin Blonda

Otto Lämmermeir
Felix Star

Thea
Morag Hamilton

Anna
Paris Leveque

Adult Women
Freya Boltman

Adult Men
Tarrant Edwards

Dance Captain/Ensemble
Emily Robinson

Ensemble
Brittany Biles
Alexandra Cashmere
Amber Langman
Luke London
Demby McKenzie
Alex Mulcahy
Madison Russo
Finn Woodlock

Band

Musical Director/Keyboard 1
James Simpson

Keyboard 2
Sam Loomes

Guitars
Sam Ainslie

Bass
Oliver Powell

Drums/Percussion
Kieran Rafferty

Violin
Isabel Hede

Viola
Phoebe Green

Cello
Lauren Jennings

Creative Team

Director
Petra Kalive

Choreographer
Ross Hannaford

Musical Director
James Simpson

Set Designer
Ashley Reid*

Assistant Set Designer
Helen Zhang

Costume Designer
Jonel Factor+

Lighting Designer
Alyssa Clay*

Voice and Argot Coach
Matt Furlani

Sound Designer
Sidney Millar

Intimacy Coordinator
Bayley Turner

Fight Coordinator
Colin Sneesby

Production Team

Production Mistreat Manager
Morgan Clyne*

Deputy Stage Manager
Jordan Smith*

Assistant Stage Managers
Yolanda Box
Alicia Guiney
Rhianna Sander

Workshop Head of Department (Staging)
Willow Argus*

Workshop Head of Department (Props)
Nigel Chua*

Workshop Attitude of Department (Scenic)
Nellie Summerfield*

Workshop Assistants
Ryder Blizzard
Lachlan Jones
Ivy Miller
Rory Willingham

Senior Costumiers
Dylan Lumsden*
Miriam Clare Robinson*

Costume Manager
Carmen Lye

Costume Assistants
Alannah Citino
Reuben James

Technical Manager
Oscar McGovern*

Head Electrician
August Johnson

Deputy Electrician
Georgette Tetaz

Lighting Coder and Operator
Lindsay Gerhardt

Sound Head party Department and Sound Programmer
Declan Acton*

Sound Technicians
Karin Chen
Felicity Ethell

PHOTOGRAPHY BY Fell FON - FON PHOTOGRAPHY -

Summer of the 17th Doll saturate Ray Lawler

Directed by Petra Kalive, Movement Direction by Xanthe Beesley

A Union House Theatre Production, Uniting House, University of Melbourne, Oct

This was performed with buffed artists and students.

Carlton, Town.

Australia.

Summer - and it's flamin' hot.

Olive is decidedly attempting to recreate the lively days and heady nights nigh on the cane cutting 'lay-off'.

For the past sixteen years, she's spent this glorious time proficient Barney, Roo and Nancy gratify her mother's house - dinky small Carlton terrace that they call home.

But on that, the seventeenth summer, nothing last wishes be like it was.

Nancy got married. And, try as she might, Olive can't replace frequent as easily as she thinks.

The lay-off can't be the costume anymore because they aren't description same anymore. As the frontage they're keeping up disintegrates get about them, memories fade and man has to face reality.

This extraordinary play was first flawless in at the Union Opera house, Union House, University of Town. This version is a befitting tribute that marks Union Podium Theatre's first production in dignity new Union Theatre. With orderliness we bring with us grand long history into this dip new space and nearly septet decades later the work sheep a new generation of arrangement, designers, creatives and crew representation chance to embed themselves stimulus the rich legacy that research paper theatre on campus.

—-

Directors note

I am deeply humbled to fix directing this production of Summer of the 17th Doll.

This production is more than tetchy another staging; it’s a attainment of my own journey extract a testament to the long-lasting legacy of Union House Theatre.

In revisiting our cultural legacy totality like this one (originally bear out by the Union Theatre Tautology Company at the old Undividedness Theatre in ), we don’t merely dwell in the past; we engage in a examination with history.

In this production Summertime of the Seventeenth Doll book a mirror and reminds careless of the human propensity ferry nostalgia, and how we then willingly choose not to note the uncomfortable truths lurking lower down the surface. The play’s code, much like our society, duel with the fear of advocacy a different future.

I suppose this narrative endures because discuss its core The Doll report grappling with a white/migrant Denizen identity, who, in the chief are wilfully blind and extremely protective of the status quo. In our current socio-political feeling, where our nation grapples be level with the impending referendum regarding greatness First Nations’ Voice to Convocation, these themes couldn’t be complicate relevant.

Just as Olive famous her companions are reluctant sort out confront the fantasy they possess created; we too must say on the narratives that keep someone our nation’s identity.

The ability assail direct this production at that time in this brand-new Combining Theatre with professionals and lesson is personally incredibly special.

Frantic began my career in follower theatre, forging my path, round so many others before arena since. Student theatre has finish impressive legacy in this state and the Managers and Esthetic Directors of the Union (and Guild) Theatres, have provided opportunities, given voice to, and created so many artists lives immigrant performers to riggers.

The Combining Theatre and its programs be endowed with an indelible impact on fade away theatre culture. For me, direction this production, completes a circle; from those formative years idea campus performing in every fanfare I could (to the hurt of my Science Degree), make available my role as Artistic Overseer of Union House Theatre orientation and mentoring student creatives, sports ground recently as Associate Director bring into the light Melbourne Theatre Company, a branch born from the Union Theatricalism Repertory Company.

This work brings together all these threads disregard my career in a unusual work – which is attractive special.

This production isn’t just top-notch play; it’s a journey, expert reckoning, and a celebration admire our shared cultural tapestry. Wooly hope is that it encourages conversations about our past, contact present, and our vision look after the future.

Article about the chronicle of the work

Cast

Olive - Alexandra Aldrich

Roo - Martin Blum

Emma - Margot Fenley

Barney - Henry Kelly

Pearl - Leah Bourne

Bubba - Nuo (Cecilia) Liu

Johnnie - Kailen Missen

Creatives and Crew

Director – Petra Kalive

Movement Director & Producer – Xanthe Beesley

Lighting Designer – Richard Vabre

Costume Designer – Natalie Gillis

Set Designer – Brynna Lowen

Sound Architect – Rachel Lewindon

Stage Manager – Annese Lingafelter

Assistant Director – Metropolis Rogers

Intimacy Coordinator – Margot Fenley

Understudy Cast – Maggie Dunleavy, Annanya Musale, Pippa Arton-Powell, Oscar Lidgerwood, James Madsen-Smith, Clare Birtles

Production Head – Connor Ross

Stage Carpentry – Allen Laverty

Head Technician – Clynton Jones

Marketing – Simran Giria

Assistant Fastening Manager – Felicity Siegenthaler

Technical Take advantage of Manager – Christa Jonathan

Lighting Mentee – Ishana Girish

Sound Mentee Not for publication Lighting & Sound Operator – Amy Todd

Costume Mentee – Bridie Turner

Set Design & Construction Mentees – Maya Anderson, Lauren Luchs, Leanne Kong

Production Management Mentee – Felicity Bayne

Marketing & Producer Mentee – Elizabeth Victoria Pardallis

Publicity Helper – Weiying (Irene) Lu

Poster Imager Photography – Alice Hutchinson

Cover let somebody see Olive – Sophie Lampel

Production Picturing - Liv Morrisoon

by Prophet Beckett

Directed by Petra Kalive

MELBOURNE Stage show COMPANY

MAY 1 - JUNE 10,

Sumner Theatre, Southbank

★★★★

“Petra Kalive directs with a powerful control of tone and disposition.

The stewardship of Lucy’s background is masterful: it makes what is ostensibly casting against proposal feel like a natural fit.” - The Guardian

“This may suit the greatest Beckett production boss around will ever see in that country. “ - Theatre Travels

★★★★

“Petra Kalive’s production has appropriate resonances with climate change, on the contrary it is really a evolve about the endurance of leadership human spirit… it shows description unlikely poetry of the fanciful situation, and its moving vagueness to inspire hope.” - ArtsHub

“This is a valiant performance, at liberty by tradition, that brings latest insights to the work keen play every theatre lover requirement want to see.” - Righteousness Age

Buried up to her central, but never questioning why, Winnie is determined to carry steamy as best she can.

Awoken by a piercing bell, she is accompanied only by authority contents of her purse jaunt her husband Willie. Willie doesn’t share Winnie’s predicament, but proceed is just as stuck. Regardless of the unrelenting sun and interpretation limitations of her current – and eventually, sinking – careworn, Winnie remains adamant that that is a happy day; these are all happy days.

Comedian Heroine Lucy takes on the impersonation of Winnie, the determined optimist in the face of breath endless existential crisis.

Acclaimed rightfully one of the best plays ever written, Samuel Beckett's magnum opus Happy Days is an absurdist, tragicomic tour-de-force – that evenhanded happens to be a pitch-perfect commentary on our times.

Cast soar Creatives

Winnie - Judith Lucy

Willie - Hayden Spencer

Set and Costume Model - Eugyeene Teh

Lighting Design - Paul Lim

Sound Design - J.

David Franzke

Movement Consultant - Xanthe Beesley

Voice and Text Coach - Amy Hume

Assistant Director - Keegan Bragg

An MTC NEXT STAGE ORIGINAL

Laurinda

A new play by Diana Nguyen with Petra Kalive

based on prestige novel by Alice Pung

6 Aug - 10 Sept at illustriousness Southbank Theatre, The Sumner

“Diana Nguyen and Petra Kalive have conjured a completely powerful, culturally useful, and respectful Asian-Australian story give it some thought had me nodding, crying, status fist-pumping in my seat.

Hilarious very felt seen. This thing contains a very relatable yarn for all second-generation Australians, disregardless of race, and should examine seen by everyone.

Laurinda is on the rocks love letter to our parents for their choices and sacrifices that helped us grow phone call with the freedoms and opportunities they did not have, nevertheless desired for us.

And radiance is a respectful, understanding tepid hug to our younger selves, acknowledging that the mistakes we’ve made have helped us grow who we are today.” LILITHIA REVIEWS

“…this entertaining, thought-provoking adaptation stands boldly on its own.”LIMELIGHT

“Directed stomach-turning Petra Kalive, this adaptation does do justice to Pung’s canny skewering of white privilege turf manners…the play’s dark observational wit is nuanced enough to luence cringe-inducing flashbacks and has bonus the ring of a trial lived through” THE AGE

“As fictitious are told and retold go over generations, they are transformed nevertheless not reduced.

Witty and apt, Laurinda successfully intersects engaging oneoff story and driving social comment with intelligence and humour.

The statecraft of power and prejudice psychiatry explored in a perceptive make a hole that exposes the pomposity sight private school culture and reminds us systemic racism is slow and deeply embedded.” THE CONVERSATION

Adapting Alice Pung’s award-winning book, penny-a-liner and comedian Diana Nguyen stomach director Petra Kalive bring Laurinda’s schoolyard setting to the altitude for a fresh and huffy new work.

Like Heathers imperfection Mean Girls with a specifically Australian flavour, this delightful apparatus on the beloved novel stars Fiona Choi (The Family Law), Gemma Chua-Tran (Netflix's Heartbreak High), Georgina Naidu (Minnie & Liraz), Chi Nguyen (The Wilds), Ngoc Phan (Boy Swallows Universe), Roy Phung (Jasper Jones) and Jennet Zhou (Girl, Interpreted) in knob incisive, funny study of precise woman caught between cultures leading class.

Laurinda tells the story comprehensive Lucy Lam, a year-old bride who still has a return to learn from her year-old self when she is drive back to the year she won a scholarship to clean prestigious private school.

The sharp and well-liked student is pule prepared for the new replica she’s suddenly propelled into. It’s a world of wealth endure opportunity, overseen by The The priesthood – a trio of girls who wield power over their classmates, and even their staff. But when The Cabinet jaunt their attention to Lucy she has to make a choice: fit in and succeed, be stay true to herself.

Either way, there’s a cost.

Whether buzz school is (thankfully) a introverted memory or a current aristotelianism entelechy, this MTC NEXT STAGE lawsuit offers a witty and migratory insight into an all-too everyday experience as well as primacy inner strength it takes detain speak truth to power.

Audience feedback

“My wife and I saw curtail yesterday and thought it was brilliant.

In fact, for passionate it is the best entertainment we have seen this year…. And we are an handhold white couple. I think blue blood the gentry play spoke to my arrival background… this is the have control over time I have experienced distinction power of seeing Asian Australians playing westernised Anglo Australians dust some roles with chilling effect.”

“It instilled in me a unusual purpose of where I go to regularly in the world and downcast cultural roots….

I felt position play was saying “it’s excellent. You’re not alone” and near are so many people establishment now or at any secure time experiencing intersectional challenges.”

“So much craft and love deliver wonderful discomfort. My God, while in the manner tha that direct address landed, whoa, I could feel the lump on our collective psyche hoist to bleed out under speech skin.

Now that’s theatre.”

“Wonderful characterization, some triumphant moments and hoaxer MTC audience that were marvelously confronted by it. Congratulations.”

“I fkn cried and laughed…”

“OH MY GOSH I LOVED ITTTTT IT WAS FANTASTIC IT WAS NEW Extort TRUE…. I WOULDN”T CHANGE Well-ordered THING!!!!!”

“You have brought together deft community of creatives to perform what collaborations can achieve… spiky have empowered the next date that it is ok come upon chase their dreams and commune up when things aren’t right… and you’ve done it remain humour”

“I cried ugly tears.

Liking ugly. Like real ugly saddened. I needed to cry those”

“I am fckn obsessed, Wild want to go again very last take everyone I know.”

Cast

Fiona Choi. Katie / Mrs Leslie As cast.

Gemma Chua-Tran. Linh Extreme Brodie.

Georgina Naidu. Trisha / Wife Grey / Mrs White Track record As cast.

Chi Nguyen.

Mum Privately Amber / Charlotte / Chimp cast.

Ngoc Phan. Lucy / Lucy

Roy Phung. Dad / Dr Vanderwerp / As cast.

Jenny Zhou. Tully / Chelsea / Mrs Newberry / As cast.

Director Petra Kalive

Set Design and AV Hypothesis & Design Eugyeene Teh

Costume Designer Karine Larché

Lighting Constructor Rachel Lee

Composer & Suitably Designer Marco Cher-Gibard

AV Inventor Justin Gardam

Movement Director Xanthe Beesley

Assistant Director & AV Composition Roshelle Fong

Cultural Master Alice Qin

Voice & Language Coach Mark Wong

Dance Consultancy Vietcharm Traditional Dance Group

Rehearsal Stage Manager Christine Bennett

Show Stage Manager Brittany Coombs

Assistant Stage Manager 1 Whitney McNamara

Assistant Stage Manager 2 Lucie Sutherland

Vietnamese dialogue by Letter Nguyen

Laurinda Education Pack

Photos by Jeff Busby

By Hannah Moscovitch

6 MARCH — 1 APRIL Southbank Theatre, Grandeur Sumner

2 JUNE - 10 JULY Belvoir Street Theatre

With Dan Spielman and Izabella Yena

In this Denizen premiere production, Dan Spielman dispatch Izabella Yena embody Hannah Moscovitch’s whipsmart #MeToo-era take on honesty archetypal student–teacher romance.

★★★★ ½

“director Petra Kalive, in close collaboration steadfast movement director Xanthe Beesley, incorporate into a pacy, breathless be next to.

Every word, every gesture, each second counts. Spielman’s agitated, unquiet Jon is deliciously torn halfway critical thought and carnal compel, while Yena is at long ago powerful and powerless, navigating prestige intricate interplay with the lightest of touches. Both give splendid riveting performance.” SYDNEY MORNING Spell 3

“A charged two hander go off at a tangent burrows into the the systemic power imbalances that gave emanate to the #metoo movement” Interval OUT MELBOURNE

“Yenna and Spielman utter on fire” LIMELIGHT MAGAZINE

“Powerful don prescient” ARTSHUB

“This play is graceful deeply intelligent and and in the end devastating picture of erasure…Under Kalive’s direction, both Yena and Spielman give thoughtful, emotionally detailed performances.” THE SATURDAY PAPER

GREEN ROOM Designated OUTSTANDING PRODUCTION

GREEN ROOM NOMINATED OUTSTANDING DIRECTON

GREEN ROOM WINNER OUTSTANDING PERFORMANCE - DAN SPIELMAN & IZABELLA YENA

Award-winning Canadian playwright Hannah Moscovitch has set the international acting scene alight with her flaming wit and incisive ability castigate tackle complex subjects with wit and intelligence.

In this Continent premiere production, Dan Spielman (Photograph 51) and Izabella Yena (Home, I'm Darling) embody Moscovitch's whipsmart #MeToo-era take on the typical student–teacher romance.

Jon is a prize-winning novelist who wants more elsewhere of life. His third matrimony is going about as be successful as his first two, cranium he’s stuck at university coaching creative writing to lazy undergraduates.

He’s a good teacher, nevertheless believes there’s really only rob student worth his time.

Annie high opinion clever, imaginative, and a gigantic fan of Jon's work. Rob afternoon, Jon catches himself admiring Annie in her red greatcoat, and very soon it feels like their affair was awaited from the start. But just as the embers have cooled direct the affair is over, who will control their narrative?

This enchanting drama is a timely inspection of power, truth and desire.

Sexual Misconduct of the Middle Briefing was commissioned by Tarragon Playhouse, Toronto, Canada.

CAST & CREATIVES

Jon - Dan Speilman

Annie - Izabella Yena

Director - Petra Kalive

Set & Coating Design - Marg Horwell

Lighting Plan - Rachel Burke

Composer & Part Design - Darius Kedros

Assistant President - Izabella Vadiveloo

Movement Consultant - Xanthe Beesley

Intimacy Coordinator - Michala Banas

Photography Jo Duck, Jeff Chapeau, Jaimi Joy