About

An isolated volcanic island emerges from the ocean. A seed floats in from distant shores, finding purchase on the rock. A beetle, clinging to driftwood, washes ashore. Time and currents bring more and more new arrivals, by accident and design, to create a rich and varied home.

Songs for Those Who’ve Come Across the Seas is a prog-rock cabaret show exploring the beauty and strength of diversity. Featuring original songs, fabulous projected imagery and Slingsby’s immersive and thought-provoking theatre making.

Meet the creative team

Andy Packer

Artistic Director

Andy co-founded Slingsby Theatre Company as Artistic Director. In ten years Slingsby has toured its original productions to 70 venues in 44 cities all over Australia and the world.

Since completing a BA of Theatre Studies at Adelaide University in 1992, Andy’s arts career has encompassed many roles including Creative Producer, ensemble Actor/Creator and Festival Director. In 2007 Andy co-founded Slingsby Theatre Company as Artistic Director. In ten years Slingsby has toured its original productions to 70 venues in 44 cities and towns across Australia, New Zealand, Singapore, USA, Canada, UK, Scotland, Spain, Ireland and Norway, winning 14 industry awards along the way.

Alongside Slingsby, Andy has built a freelance career as a Director of opera, musical theatre, cabaret and concerts. Most recently Andy directed Vigil, written by Steve Vizard and Joe Chindamo and starring Christie Whelan-Browne for Adelaide Cabaret Festival 2017 (4.5 stars, Limelight). Andy has Directed for State Theatre Company of South Australia, Adelaide Symphony Orchestra, State Opera of South Australia, Adelaide Fringe, Adelaide Festival of Arts and Adelaide Chamber Singers. Andy is respected nationally and internationally for creating moments of human intimacy and emotional truth in both intimate one hander productions and in large operatic and orchestral scale works, for child, family and adult audiences.

In January 2016 Andy became the first Australian to join the Board of Management of Philadelphia-based IPAY (International Performing Arts for Youth).

Andy and his wife Jane love living in Adelaide with their three school-age sons and retired greyhound.

Quincy Grant

Co-Creator and Songwriter

Quincy is an Adelaide based director of theatre, music theatre and opera. He has also worked as creative producer of multidisciplinary arts programs, producer of large-scale outdoor events and festival director. Quincy is an Adelaide based director of theatre, music theatre and opera.

Quincy Grant composes music for theatre, concert stage and film. His work includes music for plays such as The Tragical Life of Cheeseboy, and When the Rain Stops Falling; many works for orchestra that have been played in Germany, Canada, and by the leading Australian orchestras; and soundtracks for films and documentaries broadcast on the ABC and SBS. He also writes for concert performances and film, and plays in many groups: from rock to new music and, most recently wild gypsy music with Golonka.

He is co-director of The Firm, a company that presents concerts each year featuring Australian classical musicians in programmes of new Australian music along side interesting repertoire. In 2013 his first opera, An Ode to Nonsense, was premiered by Slingsby and the State Opera of South Australia.

Quincy lives in Adelaide with four dear ones – Anna, Arland, Clara and Miranda.

Cameron Goodall

Co-Creator and Songwriter

Cameron is one of Australia's most acclaimed and sought-after performers. He began his career as a musician, playing guitar and singing in bands.

He then studied at Flinders Drama Centre and did additional training with Gerrard MacArthur at RADA in London. He has worked for all of Australia’s major theatre companies and been involved in the development of many new Australian works. Cameron recently premiered a one-man show in The Adelaide Cabaret Festival The Sound Of Falling Stars, in which he played 30 male singers who died before their time. He also recently completed a long run playing Zazu in Disney’s The Lion King. Prior to that he spent three years with Sydney Theatre Company’s full-time acting ensemble under the direction of Cate Blanchett and Andrew Upton.

 

Cameron is also an ARIA award winning singer/composer (The Audreys). He has composed music for film and television and for many other shows, often in collaboration with song-writing partners David Heinrich and Quincy Grant (including previous Adelaide Cabaret Festival hits Little Bird and You, Me And The Bloody Sea).

Leah Flanagan

Vocals and Musician

Emotion and allure are at the heart of Leah Flanagan’s songwriting. The Sydney-based singer/songwriter uses space in an enchanting way – the listener has the sense they can settle amongst the lyrics and become part of the music. And when you settle you get carried away. It’s Leah’s voice that holds you, makes you feel, never in your face, instead making you an offer you can’t refuse.

A childhood spent in the laid-back tropical climes of Darwin in the Northern Territory, Leah brings a refreshing and unique authenticity to her work. You can hear the echo of artists such as Meshell Ndegeocello, Martha Wainwright, Joan As Police Woman and Trixie Whitley in Leah’s vocal delivery. You can hear and feel the depth of emotion she invests in her songs and the honest stories that populate them. On stage you’ll also experience some of the tales and inspiration behind Leah’s songs and enlivened by a rich musicality – whether backed by a full band or solo with ukulele (in the Northern Saltwater country style), acoustic, or  electric guitar in hand.

With Venetian, Aboriginal and Irish heritage, Leah has a fascinating historical, geographical and cultural mix to draw from. As a result, she possesses a versatility and stylistic range that has seen her work with a long list of diverse musicians and projects.

Her incredible journey as an artist is woven with star-studded collaborations with the likes of Sinead O’Connor, Meshell Ndegeocello and poet Sam Wagan-Watson; touring productions The Spirit of Churaki, For Those Who’ve Come Across the Seas, 1967: Music in the Key of Yes, Shane Howard’s EXILE – The Story of Irish Music in Australia, Mission Songs and the Black Arm Band; Adelaide Festival’s 2011 production of Leonard Bernstein’s MASS, performing in Clinton Walker’s Buried Country Roadshow; duetting with Paul Kelly and Ursula Yovich and recently recording a duet of Archie Roach’s “I’ve Lied” with Marlon Willliams. Leah has also featured on the TV Programs  – ABC’s Spicks and Specks, and SBS’s Rockwiz.

Her debut album, Nirvana Nights, recorded with ARIA award winning producer Steven Schram was released in 2010 and saw Leah spend the consequent years busy touring and on the live festival circuit. In 2011 the song cycle she composed based on the poetry of Sam Wagan Watson, entitled Midnight Muses premiered at the Adelaide Cabaret Festival and was recorded and broadcasted live by ABC’s Radio National. Since 2013, Leah has been busy working away in mentor Jim Moginie’s Oceanic Studios in the northern beaches of Sydney developing and working on her most recent albums and recordings. The ‘tender, romantic’ single Everything (2013) received wide radio play across Australia yet it wasn’t until 2016 that Leah released her second LP, Saudades. The album regarded as “a close and intimate affair..” by the Australian was picked up as feature album nationally by the ABC, RRR, PBS radio stations and the leading single Chills received acclaim reaching #16 on the Australian Independent Radio Charts. Unable to make touring commitments for Saudades due to the birth of her son, Leah released the 2017 live EP – Live at the Bella Union, recorded and engineered by Nigel Swifte at the Melbourne launch for Saudades. Her latest offering is the Oceanic Sessions; the product of Jim Moginie and Leah’s collaboration that was recorded across 2013 – 2015.

A darling of Australian community radio, Leah’s releases frequent the Airit Charts regularly with songs EverythingChills and Old Fashionedspending time in the top positions on both the metro and regional charts. Leah’s status as an Indigenous musician is one of pride and respect from her fellow musicians and the wider community which has led to invitations to contribute to essential albums such as Archie Roach’s 25th anniversary reissue of Charcoal Lane and the recently updated version of Buried Country 1.5, The Story of Aboriginal Country Music

Satomi Ohnishi

Musician

Bio coming soon!

Gareth Chin

Co-Creator and Musician

Gareth has worked primarily as a keyboardist/accordionist in theatre and music theatre, as well as session and recording work for a more than a hundred different ensembles over the last 20 years, including jazz, classical, funk, cabaret, African and Hindustani music...

Gareth regularly works with Australian ensembles The Zephyr Quartet, Golonka, The Baker Suite, The Various Nefarious, The Adelaide Symphony Orchestra and other Art music ensembles as an accordionist, as well as regularly recording for theatre companies, Slingsby and Brink. He is also a regular collaborator with cabaret star, Anya Anastasia.

As a writer, Gareth composes for gypsy outfit Golonka, theatre, and doco/mockumentaries on SBS and ABC tv, as well as being a former member of world music group The Meru Vibe, which has shared the stage with The Bamboos, Sneaky Sound System, and international electro/tabla sensation, Talvin Singh.

Gypsy outfit Golonka!, has played at numerous Australian festivals, including The Adelaide Arts Festival, Womadelaide, and shared the stage with many interstate and international groups including Zulya & The Children of the Underground, and has recently represented Australia as part of the UNESCO Cities of Music project in the Hamamatsu World Music Festival in Japan…

In 2017, Gareth composed the music for William Yang & Annette Shun Wah’s work in the Adelaide Festival of Arts, ‘Backstories’. (CAAP : Contemporary Asian Australian Performance)

Geoff Cobham

Artstic Associate - Lighting

Geoff has worked as an Event Producer, Production Manager, Lighting Designer, Set Designer, Public Artist and Venue Designer. His work has ranged from many smaller innovative productions to large scale theatre/dance productions, festivals, art exhibitions, events, museums and venue creation.

Awards include: Ruby Award for Sustained Contribution, Green Room Award Best lighting Design for Night Letters (State Theatre Company of South Australia), Sydney Theatre Award Best Lighting Design for Never Did Me Any Harm (Force Majeure), Helpman Award for Best Scenic Design for Little Bird (State Theatre Company of South Australia). Geoff is Artistic Associate (Design) for Slingsby.

Ailsa Paterson

Designer

Ailsa completed the Bachelor of Dramatic Art in Design (NIDA) in 2003.

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 and Mouse, Bird and Sausage. 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.

Production Credits

  • Developed by Cam Goodall, Quincy Grant, Andy Packer with Gareth Chin, Zindzi Okenyo
  • Director Andy Packer
  • Songs Quincy Grant and Cameron Goodall
  • Designer Ailsa Paterson
  • Original Projected Artwork Thom Buchanan
  • Lighting Design Geoff Cobham
  • Technical Design Chris Petridis
  • Visual Systems Engineer Freddy Komp
  • Motion Graphics Design Beck Bogert
  • Stage Manager Melanie Selwood

Production Credits

What people are saying

“"The work is deeply emotive in its gaiety and its sorrow, and, finally, is a memorial for a life hard lead in a world that no longer exists."” Jane Howard, Arts Hub (You Me, and the Bloody Sea review)

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