Theatre company established with a New South Wales government grant. [74] In 1947, she staged Shakespeare's As You Like It at an open air theatre in a city park in Sydney, to an audience of more than one thousand. You have the opportunity to learn from a number of directors who each have their own style. entered the Sydney Repertory Society One Act Play Competition with The Maker of Dreams by Oliphant Down, and won first prize of £20. [10] Among the founding members were actors who had appeared in Hollinworth S.U.D.S. Artists and writers have explored the harbour's people, landscape, animals and plants. In 2011-12 Zoe worked with Sydney Theatre Company developing The Lobotomist and devising/directing Fiddler’s Coin as part of the … . He is a graduate of the Directing Program at National Institute of Dramatic Art, Screenwriting at the Australian Film, Television and Radio School, and has also completed a BA in Theatre Studies at, In 2007 he travelled to New York to continue training with Anne Bogart and the, Australian Physical Theatre Company Zen Zen Zo. In 1944, "[at] a luncheon, given by J. C. Williamson's stage manager .. for May Hollinsworth [sic], ... a rare tribute was paid her. Alicia was also selected to participate in NIDA’s 2014 Independent Creative Development Program in Sydney. I’ve learnt to manage my weaknesses and immerse within my strengths  allowing me to embody the statue of a professional actor. In 2004, she conducted historical research for the Sydney Theatre Company. "[10] George Johnston in 1947 described Hollinworth as "a woman with sharp eyes, sharp ears, a tongue that can be encouraging or caustic, an apparently inexhaustible fund of energy, a compelling personality", and quoted Professor Alan Stout of Sydney University as saying, "If the Commonwealth Government really wants to get anywhere with a National Theatre, it should choose May Hollinworth . Productions included The Tomb of Osiris by John Pickard in 1929,[3] and The Man Who Stayed at Home by J. E. Harold Terry and Lechmere Worrall in 1931. clubrooms, "the thematic threads of idealised love, patriotism, and sacrifice were cleverly integrated into a single coherent skein of poetic ideas by well-judged acting and May Hollinworth's production. Previous directing credits: for SFJ include No End of Blame, Cyrano de Bergerac, Antony and Cleopatra, Antigone, Away, Love’s Labour’s Lost, The Importance of Being Earnest, Hamlet, Macbeth, The Taming of the Shrew, As You Like It, Romeo and Juliet, A Midsummer Night’s Dream and The Libertine by Stephen Jeffreys (with Terry Karabelas); and for Bell Shakespeare, co-directing Henry 4 with John Bell, Romeo and Juliet over three seasons, and the Actors at Work program. He has been employed as a Director, On-set Acting Coach, Lecturer and Tutor at numerous universities and private colleges in both Australia and the USA. Not only did I get to work with highly experienced and brilliant directors, but I also got valuable experiences and opportunities. [3][56] Initially, the Players did not have their own theatre. With John Clark (Director of NIDA) as the Artistic Adviser of the first season, five theatre companies were invited to produce six plays to be presented by STC as the 1979 Interim Season in the Drama Theatre. My time spent at Sydney Theatre School was one of the greatest experiences of my life! The commitment of all the directors involved is, as far as I am concerned, astounding. Sydney Theatre Company was formed in December 1978, following the closure of The Old Tote Theatre Company the month before. Called Ta-Ra by its first inhabitants, the Cadigal, Millers Point was named for the windmills that were built on its heights, and their owner, John Leighton, known as Jack the Miller. She had a reputation as a superb producer, known for her highly effective use of lighting, and her abilities to arrange actors on stage to convey dramatic meaning visually, to overcome the challenges of large and small stages with minimal facilities, and to select and nurture a cast. She works across theatre, film and education as devisor, director, teacher and performer. The improvement over one year as an actor and artist has been so precious. Alicia enjoys working as a performance coach and movement director for several shows including Mardi Gras favourite “The Punters Siren”. As a Voice Coach Al has worked on over 60 productions, including Kill the Messenger for Belvior, Griffin Stablemates and TRS/Maelstrom original seasons of Tiger Country and A Moment on the Lips, The Chronic Ills of Robert Zimmerman: aka Bob Dylan (a lie) for Critical Stages, Bell Shakespeare’s Actor’s At Work and Poetry in Action’s education programs. "[62] In a 1947 profile of the company, Pix magazine wrote, "May Hollinworth is distinguished in the world of serious theatre. From London, Sean worked as a journalist then retrained as an actor at the Royal Welsh College of Music and Drama, Cardiff, Wales. The grouping was always finely balanced and artistic. ", "a courageous and worthy experiment ... Visually .. Miss May Hollinworth's presentation must have satisfied the most exacting taste. She spoke in a high-pitched voice which was difficult to follow, and did not convey the innocence, poetry, and freshness of the part. She premiered several Australian plays. May Hollinworth (1 May 1895 – 19 November 1968) was an Australian theatre producer and director, former radio actress, and founder of the Metropolitan Theatre in Sydney.

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