Shakthidharan of The Jungle and the Sea (Winner, Best New Work, Sydney Theatre Awards 2022) a stage adaptation of Christina Stead’s The Man Who Loved Children Chekhov’s The Cherry Orchard and Ivanov, Gorky’s Summerfolk, Sophocles’ Antigone and Ibsen’s Ghosts co-adapter with Leah Purcell of Ruby Langford Ginibi’s memoir Don’t Take Your Love To Town and co-deviser of Beautiful One Day with artists from ILBIJERRI, version 1.0, and the community of Palm Island.įor orchestral concert he has adapted and directed A Midsummer Night’s Dream alongside Mendelssohn’s score for the Sydney Symphony Orchestra and Belvoir St Theatre conducted by Simone Young, and directed and co-created Beethoven and Bridgetower with Anna Goldsworthy, Rita Dove and Richard Tognetti for the Australian Chamber Orchestra. Shakthidharan’s Counting and Cracking (winner of the Nick Enright Prize for Playwriting at the NSW Premier’s Literary Awards, the Victorian Literary Prize and the Victorian Premier’s Award for Drama, Helpmann for Best New Work), co-writer with S. His writing and adaptation credits include: Associate Writer of S. His other directing credits include A Midsummer Night’s Dream (Bob Presents/B Sharp) and Wulamanayuwi and the Seven Pamanui by Jason de Santis (Darwin Festival). Shakthidharan, winner of Best New Work and Best Production at the Sydney Theatre Awards), Angels in America, The Glass Menagerie, Into the Woods, Tommy Murphy’s Packer & Sons, Rita Kalnejais’s Babyteeth, Alana Valentine’s Wayside Bride (co-directed with Hannah Goodwin), Tom Wright’s adaptation of Brecht’s Life of Galileo, Eamon’s own adaptations of Hendrik Ibsen’s Ghosts and Chekhov’s The Cherry Orchard and Ivanov (Sydney Theatre Awards Best Production and Best Director), as well as The Rover, The Blind Giant is Dancing, As You Like It, and Beckett’s The End. Shakthidharan, winner of the Helpmann Award for Best Direction of a Play and nominated for the Sydney Theatre Award Best Direction of the Mainstage Production), The Jungle and the Sea (co-directed with S. His key directing credits include: Counting and Cracking (with Associate Director S. His productions of The Glass Menagerie, Angels in America and Counting and Cracking won the Helpmann Awards for Best Play in 2015, 2016, and 2019. He has led Belvoir’s new work development in various guises since 2006, and has commissioned and developed many of the company’s most acclaimed new works over the last 15 years. ![]() He has worked around Australia and internationally, from the Tiwi Islands to Sri Lanka and the UK. He is a director, writer, dramaturg and script developer for stage and screen.Įamon was born in Singapore and grew up in Singapore, Darwin, Cootamundra and Brisbane. He has a BA (English and History) from the University of Queensland, and trained as an actor at WAAPA from 2001 to 2003. – Eamon.Įamon Flack is the Artistic Director of Belvoir St Theatre in Sydney. We’re turning it back into theatre, and we can’t wait to show it to you. Banned from the theatre, he let his theatrical imagination run riot in a secret novel. Bulgakov was first and foremost a playwright. In the darkest days of the first lockdown we gathered a group of actors and read aloud from this book. ![]() Now it is a phenomenon of world literature, celebrated for its insistence that love and imagination* will always triumph over those who want to shut us down. Written in secret in the gloom of repression, passed around under the nose of the state police, The Master and Margarita became a legend long before it was published. The tale unfurls from ancient Galilee to Stalin’s Moscow, via a giant talking cat, a mad novelist, a ruthless officer of the secret police… At its centre is Margarita, who has to become a witch in order to save a lost manuscript – and us all. The story that follows is wild, joyful and magnificent. And sitting on a park bench in this city is the Devil himself. Elites protect their power, thinkers squabble over trivia, everyone is consumed by greed and materialism. We’re in a city run by fools and mediocrities. ![]() Magic, mayhem, and a book that can’t be burnt – a classic of literature lets fly at Belvoir.Īn actor enters with a battered copy of Mikhail Bulgakov’s The Master and Margarita, and begins to read aloud from the opening chapter…
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