fortyfivedownstairs.com

Sian Prior reviews Far Away for Culture Club, 774 Drive, ABC Radio

See the review in its original context here.

If…you want to be surprised, even a bit disturbed by a visit to the theatre – try ‘Far Away’, a play that’s on at 45 Downstairs in Flinders Lane, written by the award-winning English playwright Caryl Churchill. I’ve been thinking about this play ever since I saw it last weekend. Churchhill is known for her non-naturalistic approach to theatre – she’s a political playwright…politics in the broader sense of power and the uses and abuses of it. The play is divided into three different scenes and as the first one opens, we see a child who has woken up in the middle of the night approaching a woman in a kitchen. We learn the woman is her aunt and the child gradually reveals that she’s just witnessed a deeply disturbing scene outside in the garden. There’s been violence and blood and the child is trying to make sense of it all. And the aunt is trying to first of all explain what the child has seen, but then – we realize – she’s trying to cover up what’s been happening. We see the world from the child’s perspective as she tries to understand adult behaviour that, on the face of it, is simply terrifying. We’re in moral quicksand as the aunt keeps changing her story. What IS going on out there in the garden shed? – we never really find out.

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Cameron Woodhead reviews Far Away for The Age.

See the review in its orginal context here.

Far Away, by Caryl Churchill, SaySIX theatre and Lil’ Artistes, fortyfivedownstairs, until May 13.

The title of Caryl Churchill’s Far Away is a provocation. Its dystopian nightmare might seem far out – only Churchill could dream up a theatrical world that combines totalitarianism and, ah, millinery – but it is also ‘far in’. However weird it seems on the surface, this is a sinister, disturbing and blackly comic diagnosis of an all too familiar way of living.

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International cabaret kamikaze sensation and ‘cabaret diva of the highest order‘ (The New York Post), Meow Meow joins us downstairs for a string of special guest appearances in The Burlesque Hour: The Glory Box.

Joining the acclaimed Finucane & Smith for just two weeks, Meow Meow loves The Burlesque Hour so much that she’s turned down invitations from London, New York, and Mexico to join us here at fortyfivedownstairs from the 7 – 17 June.

Direct from her smash hit The Little Matchgirl, winner of near every cabaret award in 2011, Meow Meow is in town exclusively for The Burlesque Hour!

Find out more about The Burlesque Hour: The Glory Box, and book tickets here.

Coming along to The Burlesque Hour: The Glory Box? Why not make it dinner and a show…?

fortyfivedownstairs and Finucane & Smith are thrilled to announce an exciting chance to win a delicious meal for four at the Sofitel’s award winning restaurant No.35 – situated on the 35th floor of Sofitel Melbourne with dazzling views of the city.

All you have to do is book a table of four – or upgrade if you already have tickets – and you could win this pre-show dinner for your party.  If you’ve already booked a table, don’t worry – you’re also in the draw to dine from this sensational menu, looking out over all of Melbourne through floor to ceiling windows.

Book your tickets and find more out about The Burlesque Hour: The Glory Box here.

European folklore mingles with Australian and New Zealand myths and legends in Beck Wheeler’s latest exhibition, Gone Bush.

The German-born, New Zealand-based artist presents vibrant, colourful works inspired by her cross-cultural upbringing and the oral tradition of folklore.

Many works recall the 1970s European children’s books she grew up with, but these are interwoven with traditional and contemporary Maori, Pacific Island and Aboriginal art. Free entry.

Opens Wednesday until May 5 at fortyfivedownstairs, 45 Flinders Lane, city. Details: visit fortyfivedownstairs.com.

City Weekly – 19 Apr, 2012 10:18 AM

The following song was written for, and performed at, fortyfivedownstairs’ 10th Anniversary Party on 23 February 2012 by the wonderful and super talented Benn Bennett.

Benn performed this brilliantly at our party, he is a very funny man (intentionally that is.)

Thank you Benn Bennett.

Happy Birthday fortyfivedownstairs
I first came here in 2008
A friend of a friend said I think you’ll think that venue’s great
And yes I’ll admit that his vision became true
But the real reason why I performed here was so that I could make friends with Mary Lou
The following year swung by, 2009
I became a volunteer here, began to pour the wine
Mingled with the artists, wore my favourite vest
And pranced around the paintings, whilst avoiding the gallery pest
2010  – probably one of the best!
Melbourne came to party for an hour of burlesque
Moira, Maude and gang here to brighten winter’s grey
With special guest with legs and balloons and tits and ass and Yumi Umiumare.
2011 saw the venue spread her wings
Extensions in the office
Adjustment to its springs
Preparing for the future, now that the first 10 years have past
And we’re pretty sure this venue fortyfivedownstairs
Is here to last!
Happy birthday
Happy birthday
Happy birthday
“happybirthdayfortyfivedownstairs!”

Two exhibitions opened in the fortyfivedownstairs galleries last night: Without A Trace by Peter Garnick, and Land Like Mine – Recent Paintings by Nicholas Harder.  Both exhibitions run until Saturday 21 April.

California Gully artist Simon Penrose has been honoured for a second time at the 2012 Victorian Indigenous Art Awards, after being voted the winner of the $2,500 Arts Victoria People’s Choice Award.

Eyes are the Window to the Soul, Simon Penrose, 2011.

Premier and Minister for the Arts Ted Baillieu said Simon’s portrait photograph of his nephew, entitled Eyes Are The Windows To The Soul, had been voted the crowd favourite among the 27 works shortlisted for the Victorian Government’s Victorian Indigenous Art Awards.

The People’s Choice win follows Simon’s win at the Awards ceremony on 9 March, where he received the $5,000 CAL Victorian Indigenous Art Award for Works on Paper.|

Mr Baillieu congratulated Simon on his stunning work and on his double win at this year’s awards.

The Victorian Indigenous Art Awards are a Victorian Government initiative designed to raise the profile of Victorian Indigenous art and build career opportunities for Indigenous artists across the State.

The 2012 Victorian Indigenous Art Awards exhibition continues until 31 March 2012 at the awards partner gallery fortyfivedownstairs.

People from outside Melbourne can view the works featured in this year’s exhibition via the Arts Victoria website www.arts.vic.gov.au/peopleschoice

The Victorian Indigenous Art Awards aim to profile and promote Victoria’s Indigenous art sector.

The 2012 awards exhibition features 27 works by Victoria’s most exciting Indigenous artists. Check out the free exhibition in person at fortyfivedownstairs, or view the online gallery and vote for your favourite to win the Arts Victoria People’s Choice Award.

The artist responsible for the winning artwork will receive $2,500. Voting closes Tuesday 20 March 2012.

Six ladies, one classic Shakespearean tragedy. Gut-busting comedy and heart-wrenching tragedy, Beth and Nat check out Zoey Dawson’s all female rendition of The Most Excellent and Lamentable Tragedy of Romeo and Juliet at fortyfivedownstairs.

Listen to the interview on Arts Mitten.

Check out this video of Trevor Turbo Brown, winner of the Victorian Indigenous Art Awards 2012.

This video shows respected Aboriginal artist Turbo working on ‘Wombat Foraging For Scraps’, ‘Echidnas In The Dreamtime’, and ‘Eagle Flying High Trying To Touch The Sky’.

This article about the Victorian Indigenous Art Awards by Kylie Northover was in The Age on Saturday 10 March. See it in its original context here.

Melbourne artist Trevor ‘Turbo’ Brown has received the Deadly Art Award, Victoria’s highest honour for an Indigenous artist, at the 2012 Victorian Indigenous Art Awards.

Turbo received the $25,000 award for his painting Owl Dreaming, a portrait of a ‘spirit owl’ he rescued while living in Mildura.

Minister for Aboriginal Affairs Jeanette Powell said Owl Dreaming was a striking work that stood out among the 27 shortlisted in this year’s awards program.

“Turbo’s winning work is a commanding piece with a great story and serves as a contemporary expression of his connection to animals from his country,” Mrs Powell said.

Seddon artist Brian Martin was highly commended in the Deadly Art Award category for his charcoal landscape drawing Methexical Countryscape: Wurundjeri #2.

“The Victorian Indigenous Art Awards aim to showcase and promote the talent and diversity of Victoria’s Indigenous arts sector,” Mrs Powell said.

“And this year is a shining example with stunning works that range from traditional painting and weaving to photography, drawing, sculpture, video and street art.”

Over $50,000 in prizes were awarded on the night. California Gully artist Simon Penrose, a first time entrant, received the $5,000 CAL Victorian Indigenous Art Award for Works on Paper.

Northcote artist Glenda Nicholls received two awards, the $5,000 CAL Victorian Indigenous Art Award for Three Dimensional Works and the $5,000 Koorie Heritage Trust Acquisition Award for her intricately woven Ochre Net.

The winners were selected by an expert judging panel comprising Jason Smith, Director of Heide Museum of Art and artists Dr Treahna Hamm and Clinton Nain.
Mrs Powell congratulated all the winners and invited the public to cast their vote for the $2,500 Arts Victoria People’s Choice Award.

“The experts have made their decisions and now it is the public’s turn to be the judge. I encourage everyone to take the opportunity to vote for their favourite work in the Arts Victoria People’s Choice Award. It’s a great way to see which works capture the public imagination,” Mrs Powell said.

An exhibition of all winners and shortlisted works is now open until 31 March at the Awards partner gallery, fortyfivedownstairs – 45 Flinders Lane, Melbourne. Entry is free.

To cast your vote for the Arts Victoria People’s Choice Award, visit: www.arts.vic.gov.au/peopleschoice – voting closes Tuesday 20 March 2012.

The Victorian Indigenous Arts Awards are a Victorian Government initiative through Arts Victoria. The 2012 awards program and exhibition have been delivered in partnership with fortyfivedownstairs.

Full details of the award winners and highly commended artists are below.

Deadly Art Award – WINNER
$25,000, Supported by Arts Victoria
Trevor Turbo Brown – BRUNSWICK
Owl Dreaming

Deadly Art Award – HIGHLY COMMENDED
$5,000, Supported by Arts Victoria
Brian Martin – SEDDON
Methexical Countryscape: Wurundjeri #2

Koorie Heritage Trust Acquisition Award – WINNER
$5,000, supported by Koorie Heritage Trust
Glenda Nicholls – NORTHCOTE
Ochre Net

CAL Victorian Indigenous Art Award for Three Dimensional Works – WINNER
$5,000, supported by Copyright Agency Limited, Cultural Fund
Glenda Nicholls – NORTHCOTE
Ochre Net

Highly Commended – HIGHLY COMMENDED
$1,500 supported by Copyright Agency Limited, Cultural Fund
Katrina Doolan – MILDURA
Babies Are Our Future

CAL Victorian Indigenous Art Award for Works on Paper – WINNER
$5,000 supported by Copyright Agency Limited, Cultural Fund
Simon Penrose – CALIFORNIA GULLY
Eyes Are The Windows To The Soul

CAL Victorian Indigenous Art Award for Works on Paper – HIGHLY COMMENDED
$1,500 supported by Copyright Agency Limited, Cultural Fund
Dallas Scott – PAKENHAM
Smoke Signal

Media contact: Greg Charter 04000 14059
Photography and artists interview requests: Ben Starick (Starling Communications – Awards publicist) 0411 029 393

The Victorian Indigenous Art Awards runs until 30 March 2012 at fortyfivedownstairs.

Heartlands Refugee Fine Art Prize 2012 is currently calling for entries.

The prize is presented by Multicultural Arts Victoria and AMES, and has a  total prize pool of over $15,000 in cash and prizes, designed to support artistic output and career aspirations.

The Heartlands Refugee Fine Art Prize celebrates the contribution of refugee artists who have arrived in Australia since 1970. This unique Art Prize showcases the creative talent and social contribution of visual artists from a refugee background.

Read more about the prize and download an application here. Entries close 5pm on Friday 20 April, 2012.

All short-listed works will be exhibited from 6 – 16 June at fortyfivedownstairs, and from 5 – 28 July at Walker Street Gallery in Dandenong.

Cameron Woodhead reviews The Most Excellent and Lamentable Tragedy of Romeo and Juliet for The Age.

***.5 / 4 stars

Zoey Dawson’s all-female Romeo and Juliet heralds the arrival of a fresh and exciting theatremaker.  Her version might flummox traditionalists: the play is condensed into ninety minutes, the role of Romeo becomes a tag-team affair, and physical comedy and choric effects are liberally deployed.  Yet this vigorous adaptation elucidates the character of Juliet like no other.

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Heather Bloom reviews The Most Excellent and Lamentable Tragedy of Romeo and Juliet for Australian Stage.  See the review in its original context here.

Zoey Dawson’s feminist adaptation of Shakespeare’s most famous play, and perhaps the world’s most iconic love story, The Most Excellent and Lamentable Tragedy of Romeo & Juliet, takes the male driven plot of Capulet vs. Montague and shifts the focus to Juliet, Shakespeare’s most often quoted heroine.

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Karen Coombs reviews The Most Excellent and Lamentable Tragedy of Romeo and Juliet for Stage Whispers.  See the review in its original context here.

A modern adaptation of a classic is not uncommon. Zoey Dawson’s version of Romeo and Juliet, however, takes on the challenge of using a young, all female cast to play the mostly male characters of the Montague and Capulet battle. And it works well. If anything, it takes the focus off the famous, tragic couple and puts the spotlight onto the young and in love Juliet; also aided by the fact that Juliet is played by the one actress, Brigid Gallacher, whilst the rest of the cast; Nikki Shiels, Naomi Rukavina, Devon Lang Wilton, Laura Maitland and Carolyn Butler, takes turns in playing Romeo. What is achieved therefore is an eye-opener into the angst of a young teenage girl in love – albeit a modern one.

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Chris Boyd reviews The Most Excellent and Lamentable Tragedy of Romeo and Juliet for the Australian.
6/3/2012

Zoey Dawson’s all-female “Teenage Dream” production of Romeo and Juliet dispenses with a great proportion of the testosterone-driven horseplay and filthy humour. This skewing of the play towards the feminine pole heightens the tragedy – no truce between warring families can assuage the prevailing grief – without making the conclusion overly mawkish.

In addition to character doubling, Dawson’s company share around several characters, including Romeo. Five actors – everyone except Brigid Gallacher, who plays Juliet – take turns at playing Romeo. His character is donned and doffed like a shirt. A blue flannel shirt, in fact.

Apart from a few puzzling and inconsistent references to gentlewomen, the sexes of key characters are left intact. And there isn’t a hint of travesty in any of the male roles. Nikki Shiels (Mercutio) and Naomi Rukavina (Tybalt) have the acting torque and gravity to pull off the most macho of roles without spinning their proverbial wheels.

With skill verging on genius (not a word I use lightly) Laura Maitland turns the jiving Capulet into a co-starring role. Devon Lang Wilton is another shape-shifter: Lady Capulet in grey tights and high heels one minute, a spiv-like Paris the next. Carolyn Butler is a creditable nurse.

And Gallacher is tremendously affecting, raw and vulnerable as Juliet.

Find out more about the Most Excellent and Lamentable Tragedy of Romeo and Juliet.

Robin Usher
The Age
28/02/2012

See the article in its original context here.

The Bard’s famous love story gets an all-female rewrite

SHAKESPEARE’S Juliet is one of drama’s most famous characters but she is seldom considered a solo character divorced from Romeo, her famous lover.

Zoey Dawson is out to change that with a contemporary, all-female production of Romeo and Juliet, featuring some of Melbourne’s finest young actors.

”I want to reconfigure the play with Juliet in the centre of it,” she says. ”Most of Shakespeare’s important characters are male but this is really her story – Juliet has the strongest dramatic arc. She is the one asking the questions and has the big monologues. She is like Hamlet because everything depends on what she does – when Romeo is banished he sits on the floor and cries.”

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Artists, curators and galleries, we invite you to submit proposals for two and four week exhibitions in the first half of 2013. Deadline for first round now extended until 7 May 2012.

fortyfivedownstairs contains two elegant gallery spaces. The large gallery is a blank canvas, open plan space with two pillars in the centre of the room. The small gallery is also an open plan space, with a single pillar in the middle of the space.

The gallery committee will be meeting mid May to schedule. You can download our proposals coversheet and information here.  More information about the galleries can be found at http://www.fortyfivedownstairs.com/the-space/gallery/