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Victoria Falconer is an award-winning musical director, composer, performer and multi-instrumentalist. She is based between London and Adelaide.
As a musical director in 2020, Victoria will be working on and performing in the debut of Bourgeois & Maurice’s Insane Animals (HOME Manchester), the Australian premiere of the musical adaptation of Amelie (Darlinghurst Theatre, Sydney), a queer reimagining of Oklahoma! (State Theatre of Western Australia) and the new show from international drag superstar Gingzilla. She is also currently engaged as associate composer/arranger and band leader with the Australian-based WOC political performance ensemble Hot Brown Honey.
As a musical director, Victoria has previously worked with Roddy Bottom of Faith No More (Sasquatch The Opera, Summerhall Edinburgh), Courtney Act (Channel 4 UK Christmas Special, Under The Covers) and Jonny Woo’s Unroyal Variety (Hackney Empire London). In 2019 she was Musical Director for the Australian re-staging of the musical Once (Darlinghurst Theatre, touring nationally in 2021) for which she was nominated for a Sydney Theatre Award, and in which she also played the role of Reza.
Victoria is co-creator, composer/lyricist and performer with critically-acclaimed feminist firebrands Fringe Wives Club, and she has just been nominated for a Green Room Award for Music Direction (2020) for their production of Glittergrass, which debuted in 2019 at the Malthouse Theatre, Melbourne. Formed in 2017 on receiving the Moosehead Development Grant, the original trio have received multiple awards including the Best Cabaret Award at Adelaide Fringe 2018, the Spirit of The Fringe Award at Edinburgh Festival Fringe 2018, and nominations for Best Newcomer (Melbourne International Comedy Festival 2017), Best Cabaret (Melbourne Fringe 2017), Best Ensemble (Green Room Awards 2017), Best Overall Show (NZ Fringe Festival 2019) and for two Wellington Theatre Awards (2019). They have performed sell-out seasons at Edinburgh Fringe, Adelaide Fringe, Soho Theatre (London), Malthouse Theatre (Melbourne), BATS Theatre (Wellington, NZ) and Griffin Theatre (Sydney), and have been invited to perform at Darwin International Festival, Southbank Centre London, Woodford Folk Festival and the Famous Spiegeltent at the Melbourne Arts Centre.
In a previous incarnation (known as Victor Victoria), she composed, scripted and performed as one half of EastEnd Cabaret, the salacious cult musical comedy duo. Playing cabaret and festival stages around the world, the pair sold out shows for 7 years at Edinburgh, Adelaide, Brighton and Perth Fringe Festivals, winning Best Cabaret (Adelaide Fringe 2012), Best Musical Act (London Cabaret Awards 2015) and described as “irresistible… shades of Victoria Wood and Julie Walters via Liza Minnelli” by The Guardian (2014).
As a collaborative musician, Victoria’s appearances in London include the Royal Albert Hall, the National Theatre’s River Stage and the Barbican, as well as playing the musical saw for Amanda Palmer at KOKO with Neil Gaiman, the Tiger Lillies and Richard O’Brien. Festival performances include Glastonbury, Latitude and Bestival (UK), Buskers Festival (NZ) and Clockenflap (Hong Kong). She has contributed violin and voice on the award-winning debut album of chamber-pop artist The Anchoress (produced by Paul Draper), synthesizers and strings to electro-dance act The Correspondents, and has played for recording sessions in famed London studios including The Church, Sofa Sound and Abbey Road Studios. In 2018 she played theremin, violin, accordion and musical saw for a Tom Waits-inspired gala at the Adelaide Cabaret Festival, accompanying John Cameron Mitchell, Ali McGregor and Joey Arias amongst other cabaret luminaries.
As a composer, Victoria has most recently written and recorded the score to the award-winning short animated film, Double Portrait by Ian Bruce. It received prizes for Best Animation at Aesthetics Short Film Festival and Best in Category at the London International Animation Festival, as well as being longlisted for a BAFTA. She was composer and sound designer for award-winning mime artist Trygve Wakenshaw’s new show Only Bones, which debuted at Soho Theatre for the London Mime Festival in January 2020.
Victoria is festival director and curator for the inaugural feminist art festival R.O.A.R. at Darlinghurst Theatre in Sydney, to be held in May 2020. She has previously curated a series of comedy and cabaret for the Bush Theatre London (Unwrapped, 2018), and was co-curator/producer for rocknroll cabaret show Midnight Marauders (2018).
TV appearances include The Courtney Act Show on Channel 4 (UK), BBC Three’s Live at the Electric (UK), ABC’s Comedy Up Late (Australia) and NBC’s Before The Morning After (US).
Victoria has been named one of Time Out London’s Top 10 cabaret performers, and was on the Hospital Club’s h100 list 2014 as one of the top 100 influential and innovative artists working in the UK creative industries. She is very active as a Bi Pride UK advocate, loves to live out of her suitcase, and will eat almost anything if it’s pickled.
Bryan trained at the Samuel Beckett Centre at Trinity College Dublin.
Noteworthy performances include My Foot/My Tutor with Articulate Anatomy (Best Male Performance at Dublin Fringe Festival 2004),Barabbas Theatre Company’s Johnny Patterson : The Singing Irish Clown ( Irish Times Theatre Award Best Supporting Actor 2009) and regularly performs his one man show Beowulf : The Blockbuster which originated as a Show In A Bag and has toured Ireland, Scotland, Wales, France, Australia, New York and was the number one success of the Edinburgh Fringe 2014 winning the STAGE Award for Acting Excellence.
Other notable productions include Act Without Words 2 by Samuel Beckett for Company SJ which most recently performed at the Barbican in London and the Centre Culturel Irlandais in Paris. He also regularly performs in a two hander adaptation of Charles Dickens A Christmas Carol with Aaron Monaghan nationally, at The Ark andThe Pavilion for Christmas 2020. He played Quasimodo in Angela’s Ashes : The Musical in 2017 & 2019 and Lenehan in the returning production of James Joyce’s ULYSSES at The Abbey Theatre in an adaptation by Dermot Bolger and directed by Graham McLaren in Oct 2017 & July 2018. Upcoming productions in 2020 & 2021 include TARRY FLYNN with Livin’ Dred, Beowulf : The Blockbuster, 14 Voices From The Bloodied Field at The Abbey Theatre and The Boy Who Talked to Dogs by Amy Conroy with Slingsby.
As director Bryan has directed Fight Night and The Games People Play for RISE productions written by Gavin Kostick which won Best Actor and the Bewleys Little Gem Award at Dublin Fringe 2010 and Best New Play at the Irish Times Theatre Awards 2013 respectively.
As Movement Director recent productions include Druid’s Beauty Queen of Leenane, Umbrella’s Glowworm, Fishamble’s Inside The GPO, Yew Tree’s Alone It Stands, Pat Moylan’s Stones In His Pockets, Tarry Flynn, The Skriker at the Lir Academy, BrokenCrow’s Levin & Levin, at the Abbey Fool For Love, The Wake and for Second Age Hamlet and Macbeth
For RTE Bryan has appeared on RTE Jr’s The Beo Show teaching drama to young children, written four short stories for the Tell Me A Story series, written and performed a Christmas short story for the Cór Na Nóg Christmas Concert and directed Fight Night for RTE’s Radio Drama season
Bryan also teaches physical theatre at The Lir Academy of Dramatic Art in association with RADA.
Lisa O’Neill from County Cavan is an Irish songwriter like no other.
Her roots may be sourced in folk and traditional music but her work opens up a landscape beyond any settled sense of genre. On her last album, Pothole in the Sky, she set her remarkable incisive voice against impressionistic instrumental back-drops, like Margaret Barry colluding with the Dirty Three or some such meeting of minds. Lisa is not shy of collaboration, and her performances
across Ireland, Europe and beyond have featured many great musicians of all ages and traditions. In January this year, she joined a stellar cast of great songwriters and musicians to celebrate the birthday of Shane McGowan at the National Concert Hall. Earlier this year she accepted an invitation from the National Gallery of Ireland to respond to works in the Frederic William Burton: For the Love of Art exhibition, which resulted in another spellbinding performance. In April she put together a critically acclaimed show for the Abbey Theatre in Dublin with writer Pat McCabe, and musicians Ian Lynch (Lankum) and Cass McCombs.
Over the years she has quietly built a reputation for herself on the Irish and international scenes and now has a growing following with her unique folk sound, strong song-writing and distinctive voice. Her debut release ‘Has an Album’ was followed in 2013 by Choice- nominated ‘Same Cloth Or Not’. Her third and most recent album ‘Pothole in the Sky’ was released to critical acclaim and is filled with tension and emotion, contextualizing themes of love, loss, heartache and sorrow today through referencing tales from the past with beauty, honesty and defiance. Lisa is currently working on new material for a fourth studio album scheduled for release in the Autumn of 2018.
Amy Conroy is an actor, playwright and Artistic Director of HotForTheatre.
Her first radio play, Hold This, was recorded and broadcast on RTÉ Radio One in September 2010. Her first stage play, I ♥ Alice ♥ I, won the Fishamble Award for New Writing in the 2010 Dublin Fringe Festival and has enjoyed sold out runs in the Ulster Bank Dublin Theatre Festival, the Peacock stage of the Abbey Theatre Dublin, The Irish Arts Centre in New York, Lókal festival in Iceland, Glasgay Festival in Glasgow, The World Theatre Festival in Brisbane, Australia, Auckland Arts Festival in New Zealand, Ten Days on the Island Festival in Tasmania, Queer Theatre Festival Croatia, Centre Culturel Irlandais in Paris and The Lyric Theatre Belfast. It was broadcast on RTE Radio One, has been translated and performed in Poland, Italy and Iceland and is published by Oberon.
Her second show, Eternal Rising of the Sun, won the Best Female Performer Award when it premiered at Dublin Fringe Festival 2011. Her performance as Gina Devine also earned her a nomination for Best Actress in the Irish Times Theatre Awards 2011. Eternal Rising of the Sun has enjoyed successful runs in the Dublin Theatre Festival 2012, Fringe World in Perth, Australia, and a staged reading in Sydney Theatre Company. In September 2013, Amy and her company HotForTheatre presented Break, which combined spoken word, music and text. Set in an Irish secondary school it exposed and interrogated the failures and triumphs of our education system. Luck Just Kissed You Hello premiered at the Mick Lally Theatre as part of the Galway International Arts Festival in 2015, concluded a sell out run for the Dublin Theatre Festival later the same year, it was nominated for Best New Play in the Irish Times Theatre Awards 2016 and toured nationally. Amy has performed in countless production over the years, most recently a critically acclaimed production of The Taming of the Shrew at the Globe Theatre, London, directed by Caroline Byrne, Futureproof, directed by Tom Creed, My Son My Son, directed by Veronica Dyas, A Day In May, directed by Gerry Stembridge, A Midsummers Night’s Dream, directed by Lynne Parker and Portrait of the Artist as a Young Man (DTF 2018), directed by Ronan Phelan. She recently directed Me Sara (Priming the Canon) for the Abbey Theatre, which played in the Peacock and toured nationally, Looking Deadly (Dublin Fringe – National tour) and Here and Now by Veronica Dyas, performed as part of Thisispopbaby’s Where We Live Festival.
Amy is a Six in the Attic Alumni, is currently Writer in Residence with Rough Magic Theatre Company and is Associate Writer with The Abbey Theatre.
Ailsa completed the Bachelor of Dramatic Art in Design (NIDA) in 2003.
Design credits for State Theatre Comoany of SA include A Doll’s House, The 39 Steps, Things I Know to Be True, Betrayal, Beckett Triptych, The Importance of Being Earnest, Hedda Gabler, In the Next Room or The Vibrator Play, War Mother, The Ham Funeral, The Complete Works of William Shakespeare (Abridged), The Price, The Cripple of Inishmaan, Little Bird, The Seagull and Three Sisters.
Design credits for Slingsby include Ode to Nonsense, Mouse, Bird and Sausage, The Young King and Emil and the Detectives. Designs for Patch include Cranky Bear and Yo Diddle Diddle.
Ailsa was Costume Designer for Cloudstreet (State Opera of SA.) Ailsa received the 2011 Mike Walsh Fellowship.
Andy Ellis is a multi-disciplinary creative who crafts beautiful, unique & thoughtful work out of his 100+ year old art & design studio, nestled amongst the vineyards in the sleepy village of Greenock in the Barossa Valley, South Australia.
Chris is a lighting and video designer from Adelaide. Following his completion of the Technical Production course at the Adelaide Centre of the Arts, Chris has continued to develop his experience across theatre, dance, and other live events in Australia and internationally.
Chris has worked with State Theatre Company of South Australia on Mr Burns, Red Cross Letters, Eh Joe for the Beckett Tryptych, Gorgon, Masquerade, The Kreutzer Sonata, Maggie Stone and Little Bird. Chris has completed designs for Brink Productions’ Long Tan, Tiny Bricks’ Deluge. Australian Dance Theatre’s The Beginning of Nature Part 1 and Ignition 2016. Restless Dance Theatre’s Touched. Slingsby Theatre Company’s The Mouse, The Bird and The Sausage. Windmill Theatre Company’s Grug and the Rainbow, Big Bad Wolf and Story Thieves. Vitalstatistix’ Quiet Faith, Someone like U’s Bitch Boxer. Torque Show’s MALMÖ, The Border Project’s Half Real, Ludwig’s Fleck and Flecker, five.point.one’s Muff and a multimedia performance project for Country Arts SA called If There Was A Colour Darker Than Black I’d Wear It. Chris has also worked in association with Geoff Cobham on a number of projects including creating the visual aesthetic for Force Majeure’s Never Did Me Any Harm using light and video.
Chris will continue to explore the synthesis of light and video wherever possible.
Elizabeth has been living and working in Adelaide since graduating from the Flinders Drama Centre in 2010.
Most recently, Elizabeth was a deviser and performer for Stories in the Dark, which won the InSpace Development Award at this year’s Adelaide Fringe. Elizabeth has performed with the State Theatre Company of South Australia in new Australian work Jesikah, Volpone, and Red Cross Letters. She has been involved as a performer with many local independent theatre companies, such as five.point.one in The Last Time I Saw Richard, and ActNow Theatre in Speak Out.
Elizabeth joined the main cast of Danger 5 for the series return on SBS, and has appeared in many commercials and locally made television productions. Elizabeth has served on the National Performer’s Committee for MEAA for the past few years, and has recently been made President of the South Australian branch of Equity.
In the year of her 4th birthday, Hannah’s stage career began as a soloist in her church’s Christmas play. As an adult she received a Bachelor in Educational Theatre and a Graduate Diploma in Education at Adelaide University.
Hannah has been teaching Drama for 19+ years and directed approximately 50 productions. She’s currently the Head of Drama at St Mary’s College. Hannah has also delivered the Certificate II in Live Production Theatre and Events course. Away from teaching Hannah was the Assistant Director on the State Theatre’s production of The Cripple of Inishmaan. She has been involved with eight Fringe Festivals in numerous roles including Publicity and YEP. Participating in on and offstage roles, Hannah worked with the University Theatre Guild and many other theatre companies.
She is a member of the SACE Drama Curriculum Leaders Advisory Group as well as a Drama Moderator and Marker. Since working with Slingsby on The Young King, Hannah has been engaged by a number of companies such as State Theatre and Brink productions to create some of their Education Materials and Study Guides.
Jacqy began her career in 1977 and for the first ten years worked in Adelaide for the Magpie Theatre Company and State Theatre Company including two years with Jim Sharman’s Lighthouse Company.
She was Artistic Director for Patch Theatre Company for a year before moving to Sydney in the eighties where she worked with Sydney Theatre Company, Riverina Theatre Company and Hunter Valley Theatre Company. She was also the original Irene in Home and Away before returning to Adelaide in 2000. For State Theatre Company South Australia, Jacqy’s acting credits include Tartuffe, Summer of the Seventeenth Doll and Buried Child.
Her other theatre credits include The Hypochondriac, Land And Sea (Brink Productions); No More Shall We Part (Foul Play); Eye Music (Tutti Ensemble); and From Footprint To Footplate (Ink Pot Arts). Jacqy’s other career highlights include playing the lead role in an all-female production of Macbeth for Foul Play and a seven-year season of Pigs Bears and Billy Goats Gruff for Patch Theatre Company, with New York and Singapore as highlights. Last year, she performed for Slingsby in the Adelaide Festival production of The Young King and in a new Australian musical Price Check. She received two awards for Stephen House’s Miss Blossom Callahan and Sean Riley’s Beautiful Words.
Her recent film credits include Red Dog, Wolf Creek 2 and The Babadook. She is one half of the duo, Tin Can Alley.
Luku Kukuku is a multidisciplinary multimedia guru, well known for his specialities of Art, Design, Animation, Digital Media, Interactivity and Sound Responsive Multimedia.
For over a decade, Luku has been using this varied palette of skills to forge an expanding and award winning career in the Australian art landscape.
Making work which transcends the limitations of the screen is Luku’s forte. Along with a celebrated artistic career steeped in vivid daubist paintings and exuberant exhibition curation, Luku’s multimedia expertise now often manifests in the form of large scale mapped projections, animations, motion graphics, sound responsive light shows, motion controlled interactive spectacles, all topped with a healthy dollop of twisted, colourful madness.
Luku has made a wide variety of multimedia work for festivals, television, theatre and live music, as well as museums and businesses throughout Australia.
Mark Oakley is 6″5′ and is not English. Mark has a wide range of experience in the AV industry, including working with various companies, most prominently Mosaic AV.
His work with Mosaic enables to be involved with many theatrical, corporate and concert style shows, with standouts being ‘Tommy’ (2015), ‘Otello’ (2016). Mark has also spent several years working at Co Opera, and toured several successful shows interstate (‘Madame Butterfly’ (2014), ‘Cosi Fan Tutti’ (2015), ‘The Magic Flute’ (2015)). Other independent highlights include designing for The Gilbert and Sullivan society (‘The Sound of Music (2014), ‘Guys and Dolls (2015)), and the South Australian premiere of ‘Legally Blonde (2014)’ for the Hills Musical Society.
Mark graduated from Brighton Secondary School in 2011, and has since kept in contact with the Performing Arts Centre, becoming a resident house tech. Through his connections at the school he was a founding member and resident tech for Reverb Theatre group (‘Nightfall with Edgar Allen Poe’ (2013), ‘Peter Pan’ (2014), and ‘A Midsummer Nights Dream’ (2015)) and has also has formed an association with the schools external dance program, Lift Dance Theatre (‘Carapace’ (2015-16)).
Nicki Bloom is an Adelaide-based writer. Her plays have been produced throughout Australia and internationally, and have won multiple awards.
Her plays include TENDER, BLOODWOOD, THE SUN AND THE OTHER STARS, LAND & SEA, A CATHEDRAL, LITTLE BIRD and VALE. Awards include the Adrian Consett Stephen Memorial Prize and the 2007 Inscription Chairman’s Award (TENDER); the 2008 Patrick White Playwrights’ Award and the 2009 Inscription Playwriting Award (BLOODWOOD); the 2012 Barbara Hanrahan Fellowship and the 2012 Patrick White Playwrights’ Award (THE SUN AND THE OTHER STARS); the 2012 Jill Blewett Award (A CATHEDRAL) and the 2015 AWGIE for Best Writing for Music Theatre (LITTLE BIRD).
She has also worked as an adaptor, creating new versions of Ibsen’s GHOSTS, Shakespeare’s ROMEO AND JULIET and Oscar Wilde’s THE YOUNG KING.
She has been twice nominated for Helpmann awards, in 2015 (Best New Australian Work, LITTLE BIRD and 2016 (Best Production Children’s Theatre, THE YOUNG KING.)
Her plays are published by Currency Press and Phoenix Educational Press.
Roland has worked with Slingsby since 2007, and has been fortunate to tour extensively around Australia and internationally with their inaugural production, The Tragical Life of Cheeseboy.
Roland’s other work as a technician, stage manager, site manager and production coordinator includes The Mouse, The Bird and The Sausage and The Young King (Slingsby), The Moon’s a Balloon (Patch), Les Gûmes (Le Phun/WOMADelaide), Adelaide Writers’ Week, Sydney Film Festival, Dark Mofo, and the Darwin Festival. In 2012 he completed a Diploma in Set Construction, Props Manufacturing and Scenic Art at Adelaide College of the Arts.
Tim is a proud South Australian deviser and performer who graduated from Adelaide College of the Arts in 2008 and is thrilled to be working with Slingsby on their production of Emil And The Detectives.
Last year Tim first joined Slingsby with their award winning production of The Young King that will go on to tour nationally and internationally over the next few years, including The Sydney Opera House and New York City’s New Victory Theatre.
Tim has also performed numerous times locally and across Australia with theatre companies, Vitalstatistix (Life Is Short And Long), State Theatre Company of South Australia (Summer Of The Seventeenth Doll, The Popular Mechanicals, The 39 Steps), Patch Theatre Company (Mr McGee And The Biting Flea, Me And My Shadow, Cranky Bear) and Junglebean, an independent theatre company he co-founded (Boxing Day Test, The Call).
Wendy is an Adelaide based designer of theatre, events and spaces. Recent production designs (Set & Costume Design for all productions) include: Nursery 2014, (Sally Chance Dance), Babyteeth 2013, Blasted 2012, Pornography 2012 (State Theatre Company of South Australia), Land & Sea 2012, Skip Miller’s Hit Songs 2011, Harbinger 2010 (Brink Productions), Man Covets Bird 2010, The Tragical Life of Cheeseboy 2007 (Slingsby), Worldhood 2011 (Australian Dance Theatre), A Lion In The Night 2012, The Little Green Tractor 2011 (Patch Theatre Company), Cutaway III, 2013 & II, 2012 (Vitalstatistix), Ruby Bruise 2010 (The Misery Children & Vitalstatistix).
Recent event designs: Designer Blink Bar 2015 Adelaide Festival of Arts Precinct, Design Assistant/Coordinator Lola’s Pergola 2014, Design Coordinator of Barrio 2013 & 2012, Assistant Designer Persian Garden 2008 & 2006 (Late Night Clubs of the Adelaide Festival of Arts), Event and Gala Designer Adelaide Cabaret Festival 2015, Design Coordinator Adelaide Cabaret Festival 2014 (Adelaide Festival Centre), Bowerbird Design Markets 2014, 2013, 2012.
Nathan has worked extensively in theatre, both nationally and internationally. He has toured Asia, USA, and all across Australia, working for companies such as Sydney Theatre Company, Melbourne Theatre Company, Windmill Theatre Company, State Theatre Company of South Australia, Griffin Theatre, Malthouse, Bell Shakespeare, Brink, Slingsby and Patch Theatre Company to name a few.
Nathan was a member of the State Theatre Company Actors Ensemble for 2017 and 2018.
Recent credits include the title role in Macbeth, Sense & Sensibility, In The Club, A Doll’s House (STCSA Ensemble), Tartuffe (STCSA/Brink), Gaslight, Things I Know To Be True, The Importance of Being Earnest, Hedda Gabler (STCSA), Masquerade (STCSA/Griffin), Betrayal (STCSA/MTC) and the title role of Pinocchio (STCSA/Malthouse/STC/NY for the US Premiere Season at The New Victory Theatre on Broadway).
Other credits include Talk to Me Like the Rain and Let Me Listen, Hot Fudge, Ghosts, King Lear, The Complete Works of William Shakespeare Abridged, Three Sisters (STCSA), The Comedy of Errors (STCSA/Bell Shakespeare), Thursday, The Hypochondriac, Harbinger (Brink), this unchartered hour (STCSA/Brink), Man Covets Bird, Emil and the Detectives (Slingsby), I Am Not An Animal, I Animal (The Border Project), Mr. McGee and the Biting Flea, Emily Loves To Bounce, Me & My Shadow (Patch), Plop!, Grug, Grug & The Rainbow, Beep (Windmill), Checklist for an Armed Robber, Ruby Bruise (Vitalstatistix), Assassins (Flying Penguin), The Country, Blackout (Stone/Castro).
Nathan is an Adelaide Theatre Guide and Adelaide Critics Circle Award Recipient.
Laura studied at the Adelaide College of the Arts, graduating in 2014 with an Advanced Diploma in Stage Management.
Laura has worked with State Theatre Company of South Australia since 2015. Her show credits include Beckett Triptych, Machu Picchu, The 39 Steps, Switzerland, The Gods of Strangers and Hydra. Laura worked on the 2017 national tour of George Orwell’s 1984, as well as its international tour in Auckland and Singapore last year.
Laura worked with Slingsby this year, Stage Managing the International tour of Emil and the Detectives. It toured to Darlington, Dublin, Bath and Edinburgh for the Edinburgh International Children’s Festival.
Other credits include Assistant Stage Managing the 2019 Adelaide season of Kay and McLean’s production of North by Northwest and working with Windmill Theatre Company, Adelaide Cabaret Festival, OzAsia Festival, Adelaide Fringe Festival and WOMADelaide.
Darian is a technically minded individual with a broad range of experience in theatre, events, information technology, software, and electronics. Works well both independently and in team environments. Always seeking new experiences and opportunities to learn new skills and strengthen current ones. Recent companies include: Slingsby, Adelaide Festival, Adelaide Festival Centre.
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