2020-21 GOLD MATILDA

PAUL DELLIT OAM

Compassionate and tireless, Paul is driven by his passion for the performing arts and those who work within it.

Currently Manager of the Moncrieff Entertainment Centre in Bundaberg, Paul was Producer for QPAC for many years, and, in particular, from 2003 to 2021, was President of the Actors’ & Entertainers’ Benevolent Fund of Queensland.

He has spent years raising the profile of the Benevolent Fund, spearheading fund-raising campaigns to help performers in need, arranging public memorials for major arts industry figures, and looking for practical ways to support emerging artists.

Queensland arts and entertainment industry would be the poorer without Paul Dellit. 

BEST VIDEO DESIGN

Craig Wilkinson, Boy Swallows Universe (Queensland Theatre, Brisbane Festival and QPAC)

Demonstrating phenomenal skill, the video design for Boy Swallows Universe was a technical marvel, encompassing the canvas stage created by Renee Mulder. The video design took the audience across time, and literally to space, and back seamlessly. Craig's projection work shows again why he is the most sought-after video designer for the stage in Queensland.

SHORTLIST

Studio Gilay & Wirrim Media, Weredingo (Karul Projects. Presented and Co-commissioned by Brisbane Festival and Metro Arts. Produced by BlakDance)

Nathan Sibthorpe, Horizon (Playlab Theatre)

Nathan Sibthorpe, The Holidays (Queensland Theatre)

Craig Wilkinson (Video) & Sean Dowling (Illustration), Avoidable Perils (Counterpilot & Optikal Bloc. Presented by Brisbane Festival, West Village & Metro Arts. Produced by Metro Arts)

Craig Wilkinson, Fourthcoming (shake & stir theatre co and QPAC)

BEST LIGHTING DESIGN

Jason Glenwright, Your Song (The Little Red Company)

From the minute you entered the theatre for this production, it shouted Elton John and it stayed true to his character the whole night. 

Jason worked closely with the creative team to carefully craft a design that was full of surprise, colour and movement. The design was sensitive to the memorable moments shared by everyday people but also delivered the fun highlighting the eccentric moments which brought the audience to their feet. Elton John once said, “You should never take more than you give”. This design did just that.

SHORTLIST

Daniel Anderzipf, Sea Wall (THAT Production Company)

Christine Felmingham, The Bull, the Moon and the Coronet of Stars (Presented by The Hive Collective and Metro Arts)               

Jason Glenwright, The Holidays (Queensland Theatre)

Jason Glenwright, Your Song (The Little Red Company)

Ben Hughes, Boy Swallows Universe (Queensland Theatre, Brisbane Festival and QPAC )

David Walters, Horizon (Playlab Theatre)

BEST SOUND DESIGN / COMPOSITION

Anna Whitaker & Ben Ely, Cowboy (Michael Smith & The Farm, Presented by Brisbane Festival & Metro Arts)

Exceedingly witty, fresh, and inventive, sound was intrinsic to the mime world of Cowboy. 

The audience was cleverly taken to the Wild West with a delicate, yet highly controlled playfulness. The aural landscape helped define the action in such an encompassing way as rarely seen on Queensland stages in the joyful work.  

SHORTLIST

Jamie Taylor, Your Song (The Little Red Company)

Brady Watkins, Sea Wall (THAT Production Company)

Guy Webster, Fourthcoming (shake & stir theatre co and QPAC)

Guy Webster, Undertow (Shock Therapy Productions)

Guy Webster, Naked & Screaming (La Boite Theatre)

BEST SET DESIGN

Bill Haycock, Of Mice and Men (Ad Astra)

This skilfully executed design transformed a small uncompromising space into an atmospheric fluid working environment for a complex naturalistic play. The use of found timber underlined the roughness of the lives of the working men and grounded the piece in a world of physical strength and economic powerlessness. The creation of different spaces for individual characters reinforced the theme of loneliness and allowed director and actors scope to particularise the human dilemmas at the heart of this profound and moving classic play.  

SHORTLIST

Chloe Greaves, Naked & Screaming (La Boite Theatre)

Chloe Greaves, That’s What She Said (The Good Room, Commissioned by Metro Arts)

Lisa Fa’alafi, Leah Shelton, Leigh Walker & Helen Clifford, Demolition (Polytoxic. Developed with the assistance of Metro Arts)

Renee Mulder, Triple X (Queensland Theatre)

BEST COSTUME DESIGN

Briefs Factory, Dirty Laundry (Briefs Factory International)

After 10 years of selling out festivals worldwide, the Briefs team delivered a spectacular line of costumes for their production Dirt Laundry. Featuring luxurious dresses, heals, and wigs each customised and unique to each individual on stage, the costume work for this production both perfectly complimented the shows political undertones while striking a bold and sensual image on the Southbank piazza stage. The craftmanship while exquisite in visual execution also impeccably served the performers practically allowing them to complete intense physical acts unincumbered. Special shout out to the creative use of bubbles during the laundromat fantasy scene.

SHORTLIST

Lisa Fa’alafi, Leah Shelton, Demolition (Polytoxic. Developed with the assistance of Metro Arts)

Chloe Greaves, That’s What She Said (The Good Room, Commissioned by Metro Arts)

Bill Haycock, Of Mice & Men (Ad Astra)

Renee Mulder, Triple X (Queensland Theatre)

Sarah Winter, Away (La Boite Theatre)

BILLE BROWN AWARD - BEST EMERGING ARTIST

Pierce Gordon, Against the Wall (Passion Productions)

Pierce Gordon has declared himself as an artist to watch in the Brisbane performing arts ecosystem. Having already carved out a screen presence, Gordon turned his attention to the stage in 2018 and has dedicated himself to mastering multiple aspects of the craft including writing, directing and acting, In the Anywhere Theatre production of Against the Wall he took on the difficult task of directing a production staged in a small residential apartment. In addition he plated two roles Mike and Leo displaying an ability to deliver an emotional depth and intensity to both characters.

SHORTLIST

Toby Angus, This Ain’t No Pussy Show (Kate Harman with Toby Angus, Brisbane Festival & Metro Arts. Produced by The Farm)

Lucy Heathcote, Our Town (Queensland Theatre)

Joe Klocek, Boy Swallows Universe (Queensland Theatre, Brisbane Festival and QPAC)

Jayden Popik, Mouthpiece (QPAC and Queensland Theatre)

Isabella Tannock, Get Her Outta Here (Broccolini Productions)

BEST FEMALE ACTOR IN A SUPPORTING ROLE

Jodie Le Vesconte, Anatomy of a Suicide (Presented by Metro Arts and BC Productions Qld in association with e.g and Big Scary Animal)  

What makes Jodie Le Vesconte’s work in Anatomy of a Suicide so special is she refuses to play the stereotype in an industry where queer women are often forced to hide themselves behind these stereotypes in order to get work.

 Vesconte brings a humorous authenticity to the role of Jo the Fisherwoman desperate to connect with her emotionally fragile and closed-off lover.

If that weren’t enough, Vesconte manages to bring three dimensions not just to Jo but a plethora of other roles across this production filling each one with a unique sense of self while still being grounded in time and space with each other.

Vesconte brings an overwhelming authenticity and heartfelt humour to her work which makes her more than deserving of this award.

SHORTLIST

Ellen Bailey, Taming of the Shrew (Queensland Theatre)

Asabi Goodman, The Revolutionists (The Curators)

Barb Lowing, Ishmael (QPAC, Dead Puppet Society and Brisbane Festival in association with Screen Queensland)

Ngoc Phan, Boy Swallows Universe (Queensland Theatre, Brisbane Festival and QPAC)

Christen O'Leary, Triple X (Queensland Theatre)

BEST MALE ACTOR IN A SUPPORTING ROLE

Darcy Brown, Animal Farm (shake & stir theatre co and QPAC)

Post Covid lockdowns many of us felt like total pigs but Darcy Brown was the one really rolling around in the mud.

Brown’s performance as Squealer in Shake n Stir’s Animal Farm was a triumph.

He managed to be both porcine and human in what was a captivating physical performance.

The role of propaganda Minister demands both charm and cunning and a large dose of animal magnetism

Orwell’s work demands someone who understands the power of words. Brown was just what the farmer ordered.

SHORTLIST

Andrew Buchanan, Boy Swallows Universe (Queensland Theatre, Brisbane Festival and QPAC)

Leon Cain, The Taming of the Shrew (Queensland Theatre)

Pierce Gordon, Against the Wall (Passion Productions)

Benjin Maza, Weredingo (Karul Projects. Presented and Co-commissioned by Brisbane Festival and Metro Arts. Produced by BlakDance)

Steven Rooke, Rising (A Playlab Theatre production presented in association with Metro Arts)

BEST FEMALE ACTOR IN A LEADING ROLE

Emily Burton, Naked & Screaming (La Boite Theatre)

Emily Burton’s performance as a young mother in Naked and Screaming is raw, real and utterly compelling. The demanding structure of this piece sees the actors snapping at breakneck speed through a montage of moments, from the briefest of highs, to crushing lows, all the way through to sleep-deprived space-staring, and Burton delivers at this pace on a 360-degree stage flawlessly. Burton’s portrayal of the brutal impact of the devastating chain of events in Naked and Screaming is honest, heartbreaking and leaves the audience reeling and revisiting events long after its conclusion. 

SHORTLIST

Ling Cooper Tang, Rising (A Playlab Theatre production presented in association with Metro Arts)

Judy Hainsworth, Margaret Fulton The Musical (Jally Entertainment)

Irena Lysiuk, Your Song (The Little Red Company)

Ngoc Phan, Horizon (Playlab Theatre)

Isabella Tannock, Get Her Outta Here (Broccolini Productions

BEST MALE ACTOR IN A LEADING ROLE

Jayden Popik, Mouthpiece (QPAC and Queensland Theatre)

Equal parts provoking, gripping and heart breaking. Jayden Popik perfectly executed his performance of Declan in Kieran Hurley’s gripping two hander Mouthpiece. His standout characterisation of the role effortlessly drew us into the volatile home life of an isolated young man desperate for connection with raw heartfelt authenticity. We could not have asked for a better mouthpiece to share this story with Queensland audiences.

SHORTLIST

Toby Angus, This Ain’t No Pussy Show (Kate Harman with Toby Angus, Brisbane Festival & Metro Arts. Produced by The Farm)

Johnny Balbuziente, Fourthcoming (shake & stir theatre co and QPAC)

Jackson McGovern, Naked & Screaming (La Boite Theatre)

Steven Rooke, Sea Wall (THAT Production Company)

Michael Smith, Cowboy (Michael Smith & The Farm, Presented by Brisbane Festival & Metro Arts)

BEST CIRCUS OR PHYSICAL THEATRE WORK

Ingress, Bridie Hooper

Ingress is Bridie Hooper’s first production as a solo artist, taking full advantage of her extensive experience as an international circus performer. Ingress coupled a beautifully executed concept with amazing physical feats to produce an impactful and breathtaking performance. Hooper impressively utilized a diverse range of circus skills, conveying the limits of the human psyche through the ecstatic force of her body. Cohesive collaboration was evident with production elements working exquisitely together to successfully support Hooper in her performance. 

SHORTLIST

Auntie’s Fiafia Night, Casus Circus

Collision, Casus Circus, Mad Dance House, Presented by Metro Arts. Produced by Cluster Arts

Cowboy, Michael Smith & The Farm, Presented by Brisbane Festival & Metro Arts

Demolition, Polytoxic. Developed with the assistance of Metro Arts

Wolfgang's Magical Musical Circus, Circa and QPAC

BEST MUSICAL OR CABARET

Your Song, The Little Red Company

Your Song was a montage of intimately told stories of Elton John’s musical impact on real human lives told by sensitive storytellers with mellifluous voices. This delightful heart-warming show was rendered through four brilliant musical performers and a knockout band performing captivating musical performances, phenomenal musical arrangements, tight balanced harmonies, pristine sound design and accompanied by a beautiful set design and stunning lighting.

SHORTLIST

Friends! The Musical Parody, SK Entertainment

Lesbian Love Stories, The Local Lesbians, Presented by Metro Arts

The Tap Pack, The Tap Pack Pty Ltd, SK Entertainment

There's Something about Music, The Little Red Company

Tick, Tick … Boom, THAT Production Company

BEST INDEPENDENT PRODUCTION

Wilbur the Optical Whale, indelabilityarts. Presented by Brisbane Festival & Metro Arts

Journey into an underwater wonderland, rest on a marine beanbag or hide in a sea-inspired cubbyhouse and prepare to be delighted.  Wilbur the Optical Whale boasts colourful characters, in playful costumes living in a beautifully appointed ocean set design, highlighted by an ambient lighting design. The world of Wilbur the Whale inspires the imagination. Join in the heartfelt storytelling by playing the games the characters do. Overcome division with compassion and understand the story of an invisible disability through sensitivity and joy.

SHORTLIST

Against the Wall, Passion Productions

Boyle & Waters in Leotard, Debase Productions. Presented by Metro Arts

Cowboy, Michael Smith & The Farm, Presented by Brisbane Festival & Metro Arts

Sea Wall, THAT Production Company

Undertow, Shock Therapy Productions

BEST MAINSTAGE PRODUCTION

Naked & Screaming, La Boite Theatre

Naked and Screaming, by Mark Rogers and directed by Sanja Simic is a deep, dark dive into the first year of Emily (Emily Burton) and Simon’s (Jackson McGovern) first year of parenthood. Initially peppered with humour and heart-warming foibles of well-meaning young parents, this play takes a brutal turn which leaves the audience breathlessly scrambling to come to terms with the swift unravelling of the relationship and lives of its central characters. Naked and Screaming explores the fissures that are forced open when gender roles, relationships, and self-care are pressed under the at-times unbearable pressure of parenthood.   

SHORTLIST

Away, La Boite Theatre

Boy Swallows Universe, Queensland Theatre, Brisbane Festival and QPAC

Fourthcoming, shake & stir theatre co and QPAC

Prima Facie, a Queensland Theatre presentation of Griffin Theatre Company's production of Prima Facie

Triple X, Queensland Theatre

BEST DIRECTOR

Sanja Simić, Naked & Screaming (La Boite Theatre)

Simic’s direction of this heartfelt and harrowing story of new parenthood is realized with skill and sensitivity. Simic exacts precision performances from her actors, who lead the audience moment-by-moment through the first year of baby Dylan’s life, and the gradual unraveling of their own. Under Simic’s direction, the set, lighting and sound design play with time and space to realistically render the dangers, delights and delirium of Emily and Simon’s year of parenting. Despite the challenging pace of Naked and Screaming, the audience are held fast in the vice-like grip of the narrative from the warmth of the opening moments to its shattering conclusion.

SHORTLIST

Daniel Evans, Away (La Boite Theatre)

Nelle Lee & Nick Skubij, Fourthcoming (shake & stir theatre co and QPAC)

Lee Lewis, Mouthpiece (QPAC and Queensland Theatre)

Sanja Simić, Caesar (La Boite Theatre)

Timothy Wynn, Sea Wall (THAT Production Company)

QUT CREATIVE INDUSTRIES BACKSTAGE AWARD

Jeremy Gordon

Jeremy Gordon is a stage manager, technician, video designer and performance maker but most of all he’s the type of artist for whom going above and beyond is par for the course.

As the technical manager and touring stage manager for Wilbur the Optical Whale Jeremy’s application, commitment and attention to detail was second to none.

He learned Auslan to ensure the show, audiences and actors are included authentically. Gordon made it his business to understand the needs of the show and provide a level of support for the tour that exceeded any expectation.

Wilbur the Optical Whale is a uniquely challenging show in that the Stage Manager is not only managing the production but also needs to be acutely aware of the specific needs of the artists within the ensemble who live with some very serious medical conditions. As well as this, the SM/operator needs to understand Auslan in order to ensure that the Auslan interpreter (which is part of the digital design and pre-recorded) is in sync with the actors on stage. Jeremy went out of his way to learn the Auslan version of the show so that he could ensure his cueing was accurate for all shows. His efforts ensured deaf audiences were provided with the same show as hearing audiences.

THE LORD MAYOR’S AWARD FOR BEST NEW AUSTRALIAN WORK

Cowboy, Michael Smith & The Farm (Michael Smith & The Farm, Presented by Brisbane Festival & Metro Arts)

To describe Michael Smith solo work Cowboy as a contemporary dance work severely undersells this extraordinary piece. 

In just over 45 minutes, Smith takes the audience on a journey into a classic old western, surfing trains, taming horses, wandering the dessert and indulging in saloon brawls. Every balcony rail and doorway is lassoed into Smith’s imaginary world in a physical piece that tests the limits of the human body. 

But by the light of the campfire and to the sound of the harmonica, Smith asks much more of the audience. 

Can you have a complete and meaningful experience as an imagined self? What will we let define and restrict us? 

Set to an original score composed by Ben Ely of Regurgitator, the piece presented by Queensland dance-theatre company The Farm is both tragically sad and at times insightfully funny. 

It’s audacious and life affirming as well as just plain exhausting to watch.

SHORTLIST

Fourthcoming, Nelle Lee (shake & stir theatre co and QPAC)

Return to the Dirt, Steve Pirie (Queensland Theatre)

That’s What She Said, The Good Room (The Good Room, Commissioned by Metro Arts) 

Undertow, Hayden Jones & Sam Foster (Shock Therapy Productions)

Wilbur the Optical Whale, Karen Lee Roberts (indelabilityarts, Presented by Brisbane Festival & Metro Arts)

BEST SET DESIGN

Renée Mulder, First Casualty, Queensland Theatre

Renée Mulder’s set design for First Casualty is both minimalist and complex, stark and beautiful. Tightly-spaced, dark wooden platforms tower at differing heights across the stage over which the actors dart, leap, disappear and reappear. Gravel on the stage crunches underfoot as the soldiers travail within an unforgiving landscape, relax and joke in the Forward Operations Base, or attend to wounded civilians in a bombed marketplace. At times, the platforms tower over the actors’ heads, rendering the landscape claustrophobic and inescapable; at others the platforms allow for concrete depiction of the rigidity of hierarchies in the Armed Forces and the performative absurdities of war.

SHORTLIST

John Felmingham, Sarah Winter,  Aimée Pouzet, and the Counterpilot Team, Adrift, Counterpilot & Metro Arts

Josh McIntosh, Fourteen, Shake & Stir Theatre Co & QPAC & Brisbane Festival

Josh McIntosh and Echo Wu, Slow Boat, Playlab Theatre, Brisbane Festival & Brisbane Powerhouse

Simone Romaniuk, The Almighty Sometimes, Queensland Theatre

BEST COSTUME DESIGN

Leah Shelton, Batshit, Polytoxic, Brisbane Festival & Metro Arts

Not content with writing and performing the autobiographical solo work Batshit, Leah Shelton also designed the costumes. Taking us from the glamour of the 1950s ballroom to the horror of the mental institution, Leah used colour, shape, line and texture to communicate what it is to be deemed “hysterical”. The costumes were as strong as the words in this piece, challenging us to experience hallucinations, mania and pain. Moving through shades of green towards a triumphant finale in black and white, Leah’s original designs confirm her understanding of catharsis.

SHORTLIST

Simona Cosentini and Simone Tesorieri, Othello, Queensland Theatre

Maria McRae, A Bee Story 2, ARC  Circus & HOTA

Renée Mulder, First Casualty, Queensland Theatre

Simone Romaniuk, Bernhardt/Hamlet, Queensland Theatre

BEST SOUND DESIGN / COMPOSITION

Guy Webster, Bunker, Lisa Wilson Projects Metro Arts

Guy Webster is one of the most highly regarded and sought-after sound designers and composers in Brisbane. The sound design in Bunker took the audience on a wild ride that managed to find beautiful moments of calm between instances of chaos. The carefully arranged aural atmospheres not only supported the progression of the story but also filled audiences with a sense of anticipation and exhilaration. This was particularly evident in a moment when Guy’s impactful sound design generated applause from the audience.

SHORTLIST

Tony Brumpton, Holding Achilles, Dead Puppet Society, Legs On The Wall, Brisbane Festival, Queensland Performing Arts Centre, Sydney Festival, Glass Half Full Productions

Kenneth Lyons , Batshit, Polytoxic, Brisbane Festival & Metro Arts

Mike Willmett, Adrift, Counterpilot & Metro Arts

Mike Willmett, The Almighty Sometimes, Queensland Theatre

BEST LIGHTING DESIGN

 Jason Glenwright, The Twits, Shake & Stir Theatre Co & QPAC

“Transformational” is one word used to describe Jason Glenwright’s design for this captivating production. An atmospheric experience for audiences, as if being placed directly into a storybook come-to-life in a magical circus of wonder. True to form, Jason’s design was sensitive to the source text and supported its adaptation to the theatrical stage with the kind of care, precision and spectacle that it deserved. Audiences were left enwrapped through this experience, and the work itself bolstered by this designer’s keen eye and attention to atmospheric detail.

SHORTLIST

Christine Felmingham, Adrift, Counterpilot & Metro Arts

Christine Felmingham, Bunker, Lisa Wilson Projects & Metro Arts

Jason Glenwright, Batshit, Polytoxic, Brisbane Festival & Metro Arts

Ben Hughes, The Almighty Sometimes, Queensland Theatre

BEST VIDEO DESIGN

Grace Uther & Freddy Komp, Batshit, Polytoxic, Brisbane Festival & Metro Arts

Batshit was a definitive highlight of Brisbane’s 2022 theatrical calendar. The video design by Grace Uther, supported technically by Freddy Komp, cleverly utilised a retro television set to create a lens into a chilling and hysteria-filled world. Grace and Freddy achieved this through a clever selection of archival clips, professionally filmed sequences, live feed and emotive historical photos. The ingenious use of medical transcripts projected into the back white surface underlined the chilling system in which our protagonist found herself trapped.

SHORTLIST

Jeremy Gordon & Nathan Sibthorpe, Bunker, Lisa Wilson Projects & Metro Arts

Blake Howson & Sarah Stafford, Again, You Have Trusted Me, Backbone Youth Arts

Ken Weston, Queen’s City, Blak Social, Brisbane Festival, Screen Qld & QPAC

Craig Wilkinson, First Casualty, Queensland Theatre

BEST DIRECTOR

Daniel Evans, The Almighty Sometimes, Queensland Theatre 

Daniel Evans directs Kendall Feaver’s The Almighty Sometimes with a skilful balance of thoughtful sensitivity, playful energy and dark imagination. Through Evans’ direction, we see the complexities of the relationships of the central character, Anna, as she navigates early adulthood with a mental health diagnosis that has seen her medicated for much of her young life. Evans draws exceptional performances from his cast and, through them, invites the audience to see the courage, love and hope at the centre of this story. The set, lighting and sound work in concert with the outstanding performances to create a beautiful, haunting, and emotionally indelible experience for the audience.

SHORTLIST

Ross Balbuziente, The Twits, Shake & Stir Theatre Co & QPAC

Mikayla Hosking, Rabbit Hole, Ad Astra Theatre Company

Jason Klarwein, Othello, Queensland Theatre

Lisa Wilson and Nathan Sibthorpe, Bunker, Lisa Wilson Projects & Metro Arts

BEST ACTOR IN A LEADING ROLE - MAINSTAGE PRODUCTION

Jimi Bani, Who’s Afraid of Virginia Woolf?, State Theatre Company of South Australia & Queensland Theatre

Richard Burton, Mike Nichols David Suchet and Rupert Everett have all tackled George in Who's Afraid of Virginia Woolf?. On the one hand a conventional mid 20th century strong man and on the other a brow-beaten weakling, George is no easy feat of acting which is what draws actors to it. Jimi Bani is no exception. Bringing his own Australian voice and experience as a Torres Strait Islander man to the part, Bani finds a deft touch of lightness, energy and physicality that the bombastic hysterics of his Martha can’t quite diminish. TI director Margaret Harvey’s colour-conscious direction to go with Bani as George also successfully puts race and the Australian Indigenous experience at the centre of this great American classic.

SHORTLIST

Andrew Buchanan, Othello, Queensland Theatre

Nelle Lee, The Twits, Shake & Stir Theatre Co & QPAC

Lorinda Merrypor, Face to Face, A Playlab Theatre Production presented in partnership with Metro Arts

Angie Milliken, Bernhardt/Hamlet, Queensland Theatre

BEST ACTOR IN A LEADING ROLE - INDEPENDENT PRODUCTION

Leah Shelton, Batshit, Polytoxic, Brisbane Festival & Metro Arts

Deeply impactful and darkly humorous Leah Shelton’s one woman performance in Batshit was delivered with clinical precision. Drawing on her dance and Suzuki training Shelton impressively side stepped between moments of heightened physical performance, stand-up comedy and lip sync. The end result delivered a guttural portrayal of how her grandmother Gwen and countless other women have been marked as “crazy” for just trying to live their lives. We’d be “mad” not to recognise the extraordinary and deeply personal performance Shelton shared with us. 

SHORTLIST

Zac Boulton, Fuel, Shock Therapy Productions

Paula Delaney-Nazarski, Queen’s City, Blak Social, Brisbane Festival, Screen Qld & QPAC

Sarah McLeod, Fuel, Shock Therapy Productions

Vanessa Moltzen, Brilliant Traces, Ad Astra Theatre Company

Aruga BEST ENSEMBLE

Dirty Fame Flash Candles Club, Western Standard Productions

Dirty Fame Flash Candles Club features Helen Cassidy, Lizzie Moore, Neridah Waters and Melissa Western as a quartet of energetic 80s enthusiasts who have pioneered a club in which all members are able to recreate their favourite 80s movie climax. With each performer highly skilled in her own right, this powerhouse ensemble work together to deliver a show that is full of huge hair and huge heart, with the audience in the palm of their hands from the opening strains of 80s synth to the leap-up-in-your-seat-and-cheer finale. Cassidy, Moore, Waters and Western invite the audience to feel like part of their dynamic ensemble and leave us wishing the Dirty Fame Flash Candles Club was real so we could revisit the joy of this show every week!

SHORTLIST

Boy, Lost, Belloo Creative 

First Casualty, Queensland Theatre 

Jane Eyre, Shake & Stir Theatre Co & QPAC

Tiddas, La Boite Theatre, QPAC & Brisbane Festival

BEST ACTOR IN A SUPPORTING ROLE - MAINSTAGE PRODUCTION

Amy Ingram, Fourteen, Shake & Stir Theatre Co, QPAC & Brisbane Festival

Amy Ingram brings a glorious authenticity to her depiction of various characters in Fourteen. Her main role, Morgan, is a fun-loving, smoking and drinking 14 year old teen from the regional town of Yeppoon. Capturing the essence of a small town community, Amy pinpoints that awkward teen period where everyone is trying to work out who they are and where they belong. Amy’s work within the ensemble sees her playing various school students, male and female, with the same compassion, sensitivity and humour, while as the local Youth Services leader, Rhonda, she is able to create a mature, encouraging and supportive character with inner depth and heartfelt warmth.

SHORTLIST

Benjin Maza, Othello, Queensland Theatre

Sarah Ogden, Othello, Queensland Theatre

Trent Owers, The Sunshine Club, Queensland Theatre & QPAC

Silvan Rus, Slow Boat , Playlab Theatre, Brisbane Festival & Brisbane Powerhouse

BEST ACTOR IN A SUPPORTING ROLE - INDEPENDENT PRODUCTION

Janelle Bailey, The Normal Heart, Ad Astra Theatre Company

Madeleine Little, The Normal Heart, Ad Astra Theatre Company

Seeing disability on stage is rare. It’s rarer still that a disabled performer is given the opportunity to embody that part. Madeleine Little brings an authenticity to her performance as Dr. Emma Brookner in Ad Astra’s production of The Normal Heart. Little shines as a woman struggling to be heard by the straight abled establishment as her patients and friends keep dying around her. Full of resentment and sadness, Little is captivating to watch every moment she is on stage.

Working alongside and sharing the role with Little, Janelle Bailey brings assurance and a quiet sensitivity to the character, containing her rising anger until it spills over with compelling strength in her passionately articulated monologue.

SHORTLIST

James Blee, BU21, The Drama Merchant

Bernadette Pryde, Toy Symphony, Ad Astra Theatre Company

Sam Valentine, The Boys, PIP Theatre 

Tibian Wyles, Queen’s City, Blak Social, Brisbane Festival, Screen Qld & QPAC

BILLE BROWN AWARD - BEST EMERGING ARTIST

Oliver Hetherington-Page, The No Bang Theory, indelabilityarts

Perry Mooney, Queen’s City, Blak Social, Brisbane Festival, Screen Qld & QPAC

Oliver Hetherington-Page has wowed audiences with his take on the musical-cabaret form. Blending elements of comedy, social commentary, musical theatre and a dazzling array of eye-catching dinner jackets, Oliver’s work embeds important elements of didacticism and social activism blending seamlessly alongside a witty, charming and deceptively complex narrative. The No Bang Theory augurs well for the future of this performer, showcasing an exciting, emerging talent.

Perry Mooney has an impressive creative authority, spanning art and entertainment forms, and as an actor has proven a commanding stage presence with a seemingly intuitive mastery of dramatic rhetoric and a captivating theatrical gravitas that is difficult for even the most seasoned of performers to attain.  Queen’s City was an example of this actor’s adept skill, bringing a powerful message to an audience that was inevitably obliged to respect and take note of this masterful performance.

SHORTLIST

Morgan Francis, Boy, Lost, Belloo Creative

Reagan Mannix, First Casualty, Queensland Theatre

Thomas Stewart, Assume People Like You, Cluster Arts & Melon the Human

BEST MUSICAL OR CABARET

Dirty Fame Flash Candles Club, Western Standard Productions

If you’re looking for the time of your life, Dirty Fame Flash Candles Club is the cabaret-style comedy quasi-musical that’s sure to have you falling head over heels in love. Helen Cassidy, Lizzie Moore, Neridah Waters and Melissa Western have combined their brilliant powers of comedy, dance and song to create a sanctuary for those feeling lost in the challenge of middle age, and what a joyous sanctuary it is. This show was a delight with its impeccable soundtrack, hilarious dance routines and expertly managed audience engagement that had all of us longing for our very own 80’s movie climax. 

SHORTLIST

A Very Naughty Christmas, Woodward Productions

All Fired Up, Box Jelly Creative and Roz Pappalardo Projects & Brisbane Powerhouse

Sisters Are Doing It For Themselves, The Little Red Company 

The Last Five Years, La Boite Theatre

BEST CIRCUS OR PHYSICAL THEATRE WORK

Knee Deep, Casus Creations & CIRCFest

Knee Deep brings raw emotion to the stage; but like an egg, delicacy does not necessarily equate to fragility. The Casus Circus ensemble work seamlessly together exploring this metaphor which becomes a compelling motif throughout the piece. At its core, the show is about relationships. The four performers constantly pull each other up and push each other down in an attempt to find balance. Will they succeed? Or fall and crack like the eggs underneath them?  Shaped through intimacy and strength, their journey has a sustained simplicity, with skilled tricks and acts, all the while undercutting expectation of gender roles. This is pure physical circus without ego or gimmicks, celebrating with mesmerising artistry the power (and fun) of mutual respect.

SHORTLIST

A Bee Story 2, ARC Circus & HOTA

Bunker, Lisa Wilson Projects & Metro Arts

Holding Achilles, Dead Puppet Society, Legs On The Wall, Brisbane Festival, Queensland Performing Arts Centre, Sydney Festival, Glass Half Full Productions

JINGLE, JACs Entertainment

Brisbane Powerhouse BEST INDEPENDENT PRODUCTION

Batshit, Polytoxic, Brisbane Festival & Metro Arts

Fantastically theatrical Batshit directed by Ursula Martinez strapped audiences in for a hilarious and deeply intimate interrogation of female madness. Brought impeccably to life by a killer creative team, led by creator and performer Leah Shelton, Batshit spectacularly brought an axe down on the patriarchal systems that have failed us. All aspects of the show’s design seamlessly worked together to support Shelton’s both chilling and gut wrenching portrayal of her grandmother Gwen’s involuntary hospitalisation in the 1960s. Belted up and dressed to kill, psycho siren Leah Shelton has created a truly outstanding theatrical experience.

SHORTLIST

All Fired Up, Box Jelly Theatre Co and Roz Pappalardo Projects & Brisbane Powerhouse

Bear With Me, David Megarity, Tyrone & Lesley & Metro Arts

Boy, Lost, Belloo Creative 

Bunker, Lisa Wilson Projects &Metro Arts

BEST MAINSTAGE PRODUCTION

The Almighty Sometimes, Queensland Theatre 

The Almighty Sometimes, by Kendall Feaver and directed by Daniel Evans, is a powerful work that unashamedly explores family, love, relationships and mental health. The complex narrative intersecting the lives of Oliver (Will Bartolo), Renée (Rachel Gordon), Anna (Melissa Kahraman) and Vivienne (Luisa Prosser) was supported masterfully by the designs of Simone Romaniuk, Ben Hughes and Mike Willmet, with Erin Handford (Stage Manager), Tia Hanee Cleary (Assistant Stage Manager) and NJ Price (Fight and Intimacy Director) brought together by Evans to craft one of the most impactful works ever seen on the Brisbane stage. This production lingers in the minds of its audiences, demonstrating an impressive level of creative power.

SHORTLIST

Fourteen, Shake & Stir Theatre Co, QPAC & Brisbane Festival

Othello, Queensland Theatre

Slow Boat, Playlab Theatre, Brisbane Festival & Brisbane Powerhouse

The Twits, Shake & Stir Theatre Co & QPAC

THE JUDGES AWARD

Adrift, Counterpilot & Metro Arts

2022 sees the introduction of a new award given at the discretion of the judges. It emerged from a desire to recognise outstanding work that may not fit within existing categories. In this way, the Matilda Awards judging panel encourages Queensland creatives to push artistic and/or other boundaries. Counterpilot’s Adrift challenged the judges’ notions of what live theatre can be. With a cup of immersive, a tablespoon of bedtime story, and a drizzle of team-building exercise, Adrift made a delicious theatrical meal. It awakened the senses, created meaning, encouraged individual creativity, and demanded audience collaboration in real time and space.

SHORTLIST

Again, You Have Trusted Me, Sarah Stafford & Backbone Youth Arts

LOVE, LUST, LOST, Broad Encounters Productions

QUT CREATIVE INDUSTRIES BACKSTAGE AWARD

Daniel Maddison

Daniel Maddison is a highly experienced technical and production manager with over 20 years of experience across more than 150 productions. Daniel is known for his patience, supportive attitude, strong work ethic, his commitment, and attention to detail. He consistently takes initiative to support creative artists to bring their ideas to fruition, going above and beyond to deliver a high standard in all the productions he is associated with. Daniel’s professionalism, friendly demeanour and positivity instil confidence in all of those who have been lucky enough to work with him.

Suellen Maunder, JUTE

Artistic Director since 1992, pioneering regional theatre, new work development and support of local theatre practitioners

Artistic Director & CEO of JUTE Theatre Company, Cairns,  Suellen was founding member in 1992, alongside Kathryn Ash and Susan Prince, of Just Us Theatre Ensemble, a gutsy, forward-looking company which grew to become a dynamic, award-winning new work theatre organisation and a beacon for regional arts practice across Australia.

For more than 30 years, Suellen has led with energy, tenacity and rigour, stepping into different roles on and off stage, spearheading the development, production and touring of new, diverse and vibrant work.

Suellen was also a key figure in the establishment of Bulmba-ja Arts Centre and is a well-respected voice in the state and national arts communities.

BEST SET DESIGN

Tyler Hill, Stunt Double, The Farm, Brisbane Festival, Brisbane Powerhouse, Screen Queensland, Performing Lines

The set design for Stunt Double was an inspired blend of B-grade horror props and A-grade craftsmanship, brilliantly transforming the bare stage into a fictional 70s Australian film before our eyes. The dynamic set evoked an old Hollywood feel with a distinctive and charming 'Australiana' touch that always had us guessing where the next action-packed thrill would take us. Tyler Hills’ innovative use of dark and cinematic elements within the set not only delivered a visually striking experience but also masterfully complemented the show's overall exploration of the film industry's treatment of its hardest workers.

SHORTLIST

David Cross, RED, Dancenorth

Peter Keavy, Capricorn, La Boite Theatre in Association with QPAC

Josh McIntosh, Tae Tae in the Land of Yaaas!, Shake & Stir Theatre Co, QPAC and Brisbane Festival

Simone Romaniuk, BANANALAND, Brisbane Festival, QPAC  

BEST COSTUME DESIGN

Delvene Cockatoo-Collins and Peter Keavy, Capricorn, La Boite Theatre in Association with QPAC

Delvene Cockatoo-Collins' Here Fishy Fishy costume delighted the judges both visually and audibly. The costume pieces looked hand dyed in ochre, giving it a natural, earthy appearance. Mother of Pearl shells trimmed the overcoat. These were eye-catching and cleverly used to include the element of water in the costume. They also made a delightful clinking sound as the character moved. Peter Keavy used colour and styling effectively in coordinating costumes for Capricorn. The humans wore outfits of teals & turquoise which matched the colours of the set, elevating its visual effect.  Here Fishy Fishy had several goldfish-orange costumes and distinctive styles of clothing were used to reflect the characters' changing moods and mindset.

SHORTLIST

Dan Gough, Kasey Turner, Savannah Fry, Emily Overton, CAKE, IMRSE

Jess Hansen, Billy Elliot, Matt Ward Entertainment

Belinda Gayle McCormack, Adventures of Peter Rabbit, Small Crown Productions

Simone Romaniuk, BANANALAND, Brisbane Festival, QPAC

BEST SOUND DESIGN / COMPOSITION

Kate Miller-Heidke, Keir Nuttall, James Dobinson, Joy Weng and Terry McKibbin, BANANALAND, Brisbane Festival, QPAC

BANANALAND is a tribute to the delightfully nonsensical pursuit of an unattainable goal, guided by the masterful musical compositions of Kate Miller-Heidke and her partner Keir Nuttall. The production showcased a remarkable group of singer-actors, each able to captivate the audience with their dynamic performances and impeccable vocal abilities. Together as a vocal ensemble, they effortlessly intertwined their voices to create flawless harmonies that were both powerful and satisfying. The brilliant Musical Direction by James Dobinson was further elevated by the impeccable Sound Design of Weng and McKibbin, resulting in an unforgettable auditory experience for all.

SHORTLIST

Alisdair Macindoe, RED, Dancenorth

Josh Notting & Autumn Skuthorpe, Breathe In, Crossroad Arts

Guy Webster, Drizzle Boy, Queensland Theatre

Guy Webster & Matt Hsu’s Obscure Orchestra, The Poison of Polygamy, La Boite Theatre and Sydney Theatre Company

BEST LIGHTING DESIGN

Ben Hughes, Salamander, Brisbane Festival, Northshore

With an international team of creatives at the helm and a true collaboration across all art forms, Salamander was one of 2023's defining experiences. Ben Hughes transformed the unconventional performance venue into a living, breathing space of sculpture and movement, carefully guiding the audience and providing nuanced visual rhythm throughout the journey. Ben's detail in creating evocative atmospheres and emotional heft whilst simultaneously showing technical restraint and artistic cohesion demonstrates why he is one of Australia's leading lighting designers.  

SHORTLIST

Yaron Lifschitz, Eternity, Circa, Brisbane Festival, City of Newcastle’s New Annual Festival

Trent Suidgeest, Frankenstein, Shake & Stir Theatre Co, QPAC

Trent Suidgeest, Tae Tae in the Land of Yaaas!, Shake & Stir Theatre Co, QPAC and Brisbane Festival

Bernie Tan-Hayes, Vietgone, Queensland Theatre

BEST VIDEO DESIGN

Freddy Komp, Breathe In, Crossroad Arts

Freddy Komp’s video design for Breathe In transcends traditional boundaries, skillfully capturing the essence of the protagonists' experience of living with alternative communication needs. Through a seamless fusion of realistic and abstract visuals, Komp artfully conveys the nuanced experiences faced by Brenden and Georgia. The incorporation of written captions further enhances inclusivity, setting a groundbreaking standard for how accessibility can be thoughtfully integrated into the artistic process. Breathe In's video design offers a poignant glimpse into a life shaped by alternative communication channels, demonstrating the power of multimedia storytelling in portraying the universal aspects of the human experience.

SHORTLIST

Justin Harrison, Is That You, Ruthie?, QPAC in association with Oombarra Productions

Nevin Howell, Vietgone, Queensland Theatre

Craig Wilkinson, Frankenstein, Shake & Stir Theatre Co, QPAC

Craig Wilkinson, Wizard of Oz in Concert, Prospero Arts, QPAC

BEST DIRECTION

Daniel Evans, Drizzle Boy, Queensland Theatre

Daniel Evans has reportedly said the best advice he ever received was “Dive head-first into what you want – the worst that can happen is that you hit your head. Definitely check the level of water, just to be on the safe side”. In Drizzle Boy Evans dived in headfirst. Being a neurotypical man directing a work about autism, Evans opened himself up to a world and a community that wasn’t his own with an honest integrity that allowed the authenticity of the writing to shine through.  Bringing his accustomed flair for theatricality, Evans achieved an astonishingly joyful and sensitive production and served as a bridge between neurotypical audiences and the neurodivergent nature inherent in the writing.

SHORTLIST

Ngọc Phan & Daniel Evans, Vietgone, Queensland Theatre

Leah Purcell, Is That You, Ruthie?, QPAC in association with Oombarra Productions

Timothy Wynn, Every Brilliant Thing, THAT Production Company, Metro Arts

Alison Richardson, Breathe In, Crossroad Arts

BEST PERFORMANCE IN A LEADING ROLE - MAINSTAGE PRODUCTION

Chenoa Deemal, Is That You, Ruthie?, QPAC in association with Oombarra Productions

In her portrayal of Ruby in Is That You, Ruthie?, Chenoa Deemal allows the audience to experience the incredible strength, inexorable humour and unsinkable resilience of this character through her energetic, heart-rending and utterly compelling performance. In addition to playing Ruby, Chenoa Deemal takes on the mantle of multiple characters through a play that moves back and forwards in time through Australia’s history, and in every transformation Deemal’s versatility is astonishing; each new character is as convincing as they are engaging. Through song and dance, inhabiting a chorus of characters and spanning decades, Deemal’s performance is unforgettable, and central to the audience’s understanding of the multi-generational impact of Australia’s racist policies and the Stolen Generation on Aboriginal families.

SHORTLIST

Seán Dowling, Unconditional, Playlab Theatre, presented by Playlab Theatre and Brisbane Festival, Brisbane Powerhouse

Anthony Gooley, The Mystery of the Valkyrie, Woodward Productions, PowerArts

Cameron Hurry, Unconditional, Playlab Theatre, presented by Playlab Theatre and Brisbane Festival, Brisbane Powerhouse

Kimie Tsukakoshi, The Poison of Polygamy, La Boite Theatre and Sydney Theatre Company

BEST PERFORMANCE IN A LEADING ROLE - INDEPENDENT PRODUCTION

Jason Klarwein, Every Brilliant Thing, THAT Production Company, Metro Arts

In his role as the solo-actor in Every Brilliant Thing, Jason Klarwein’s performance immerses the audience seamlessly in the fraught but beautiful world the central character inhabits. In role as the unnamed central character, our narrator and guide, Klarwein interacts with every single member of the audience, and in even the briefest of moments, makes them feel safe, valued and central to the incredible story that unfolds onstage every night. Every Brilliant Thing moves through joy and despair, hope and loss, grief and love and Klarwein’s skilful, sensitive, deftly responsive and nuanced performance guides the audience on a journey equally as personal and transformative for them as it is for the central character.

SHORTLIST

Caitlin Dooley, CAKE, IMRSE

Stephen Hirst, Sexual Misconduct of the Middle Classes, Offside Theatre

Liliana Macarone, The Penelopiad, Queensland Shakespeare Ensemble

Cecilia Martin, Break, The Farm, Metro Arts

BEST ENSEMBLE

Stunt Double, The Farm, Brisbane Festival, Brisbane Powerhouse, Screen Queensland, Performing Lines

Stunt Double’s ensemble cast, Gavin Webber, Kate Harman, Grayson Millwood, Essie Horn, David Carberry, Matt Cornell and Ngọc Phan, had the audience enraptured from the show’s first moment. The performers worked together seamlessly to transport the audience into the often-overlooked world of stunt doubles and the misogyny and power struggles that are still so prevalent in the industry. They balanced multiple roles including guiding over 30 audience members in real time to recreate life on a film set, manipulating the sets, and showcasing their own diverse skills in acting, acrobatics, dance and stunt work. Their ability to convey the physical demands and mental resilience required by stunt work was truly commendable.

SHORTLIST

Betwixt, Pink Matter, Metro Arts

Salamander, Brisbane Festival, Northshore

The Penelopiad, Queensland Shakespeare Ensemble

From Little Things, Flipside Circus, Casus Creations

BEST PERFORMANCE IN A SUPPORTING ROLE - MAINSTAGE PRODUCTION

Ngọc Phan, Vietgone, Queensland Theatre

Ngọc Phan gave an engaging and charismatic performance playing numerous characters in Queensland Theatre’s Vietgone. Drawing on her natural flair for comedy combined with an unfailing feeling for authenticity, Ngọc showcased her acting range transforming into the various roles from dutiful wife to nervous translator to free-loving hippy, and more. Ngọc’s embodiment of the role of the sassy mother was a highlight, capturing the ‘tough-love’ energy and physical comedy of an Asian mother. It was a joy watching Ngọc perform these larger-than-life characters whilst still maintaining a sense of sincerity and honesty to her roles.

SHORTLIST

Helen Cassidy, Tae Tae in the Land of Yaaas!, Shake & Stir Theatre Co, QPAC and Brisbane Festival

Courtney Cavallaro, As You Like It, Queensland Theatre

Barbara Lowing, The Appleton Ladies’ Potato Race, Queensland Theatre

Merlynn Tong, The Poison of Polygamy, La Boite Theatre and Sydney Theatre Company

BEST PERFORMANCE IN A SUPPORTING ROLE - INDEPENDENT PRODUCTION

Cameron Hurry, Grand Horizons, PIP Theatre

Cameron Hurry emerged as a stand-out performer in Grand Horizons, leaving an indelible mark with his portrayal of the gay drama teacher son. Hurry combined his instinct for comic timing with an ability to seamlessly capture nuanced elements of emotion and deliver them with sincerity, drawing the audience in and creating a lively connection between them and his character. His mastery of his craft was evident in every scene, as he skilfully navigated the complexities of the character, revealing layers of depth and vulnerability. Hurry's performance in Grand Horizons not only showcased his exceptional talent but also exemplified the transformative power of acting when executed with such precision and conviction.

SHORTLIST

Pierce Gordon, Proof, Ad Astra

Aimee Duroux, Proof, Ad Astra

Brigitte Freeme, Top Girls, Ad Astra

Zoe de Plevitz, Adventures of Peter Rabbit, Small Crown Productions

BILLE BROWN AWARD - BEST EMERGING ARTIST

Nevin Howell: Video design, Drizzle Boy, Queensland Theatre; Vietgone, Queensland Theatre; White China, Playlab Theatre

Nevin Howell is an exceptional video designer, breaking onto the professional scene with works including Drizzle Boy, White China and Vietgone. An outstanding talent, with the skill, determination and work ethic to match, Nevin’s attention to detail and his storytelling through exploration, vibrancy and emotion mark him as a designer to watch. Through Drizzle Boy we saw Nevin’s ability to find the joyful and experimental elements of AV. Vietgone was an explosion of feeling and satirical inventiveness, navigated expertly through smart, beautiful and poetic projections. White China was curated, clever and crisp. Nevin is quickly becoming a constant in our industry. He is utterly deserving of this award.  

SHORTLIST

Caitlin Hill: Direction, Proof, Ad Astra

Courtney Cavallaro: Performance, As You Like It, Queensland Theatre

Peter Keavy: Set and costume design, Capricorn, La Boite Theatre in association with QPAC; Higher Faster Louder, JUTE

Malika Savory: Performance, Children of the Black Skirt, Lost Child Ensemble/The Curators’ Theatre; Picnic at Hanging Rock, Observatory Theatre

BEST MUSICAL OR CABARET

BANANALAND, Brisbane Festival, QPAC

BANANALAND was a must-see musical comedy that was impossible to resist. With its hilariously captivating storyline, it took the audience on a bubbly journey through the highs and lows of being a dedicated musician, challenged with staying true to their craft. The production was a feast for the senses, with vibrant characters, dazzling costumes, ingenious sets, and catchy songs. The talented team of Miller-Heidke, Nuttall, Dobinson, and Phillips pulled out all the stops to deliver a delightful and unforgettable musical experience. Backed by a stellar cast of versatile and gifted actors, BANANALAND was guaranteed to have you tapping your feet and singing along with your heart full.

SHORTLIST

A Very Naughty Christmas, Woodward Productions

Billy Elliot, Matt Ward Entertainment

Merry Mixology, Outside the Jukebox

The Wizard of Oz in Concert, Prospero Arts, QPAC

BEST CIRCUS OR PHYSICAL THEATRE WORK

Stunt Double, The Farm, Brisbane Festival, Brisbane Powerhouse, Screen Queensland, Performing Lines

Stunt Double by The Farm is an impressive, powerful, and innovative blockbuster that defies genres and expectations. It’s a love letter to the Ozploitation schlock horror flicks of the 70s. It’s also an allegory for the impact of power and hierarchy, an ode to the unseen and underappreciated stunt performers of the film industry, a showcase of how little the industry’s ingrained misogyny has changed over the years. And it’s still so much more. Stunt Double effortlessly and cohesively weaves together dance, physical theatre, video, acrobatics, fight choreography, audience participation, multi-model sets, innovative lighting design and big action scenes to create a unique work that moves and impresses in equal measure. There was nothing like it in 2023.

SHORTLIST

Break, The Farm, Metro Arts

Party Ghost, Brisbane Festival, Cluster Arts, Metro Arts

RED, Dancenorth

Salamander, Brisbane Festival, Northshore

Brisbane Powerhouse BEST INDEPENDENT PRODUCTION

Every Brilliant Thing, THAT Production Company, Metro Arts

THAT Production Company is building a strong reputation for producing plays that tap into the complexity of our shared humanity. 2023 saw THAT take on the daunting task of producing a comedy about suicide. Under the direction of Timothy Wynn with a stellar production team including Eva Fritz, Nathaniel Knight and Wil Hughes, Metro Arts became a safe space for actor Jason Klarwein to explore emotions and experiences often only discussed in whispers – if at all.  THAT’s skilful and respectful examination of one man’s relationship with mental health, loss and living produced theatre at its best: challenging, honest, and life-altering.

SHORTLIST

Sexual Misconduct of the Middle Classes, Offside Theatre

CAKE, IMRSE

ITEM, Dance Masala's Nakhre Crew, Metro Arts

Proof, Ad Astra

BEST MAINSTAGE PRODUCTION

Drizzle Boy, Queensland Theatre

Drizzle Boy represents a ground-breaking moment in Australian theatre. The work was written and performed by neurodivergent artists and hit a sweet spot of shining a light on living with autism in a way that informed and entertained mainstream audiences without alienating disability and neurodiverse audience members. Following through the metaphor that Drizzle Boy is the centre of his own universe, the set, lighting and projection revolved around him, evoking night sky and stars or circular journeys with or away from people. It was funny and tender as well as heartbreakingly sad but at its heart it was honest and real. Drizzle Boy won Ryan Enniss the Queensland Premier’s Drama Award but the real win was for authentic autistic representation on our stage.

SHORTLIST

Breathe In, Crossroad Arts

Is That You, Ruthie?, QPAC in association with Oombarra Productions

Vietgone, Queensland Theatre

Frankenstein, Shake & Stir Theatre Co, QPAC

THE JUDGES AWARD

Breathe In, Crossroad Arts

For breaking new ground in integrating multiple communication modes within the artistic process

 A powerful site-specific work giving voice to themes and stories of survival, isolation, grief and courage drawn from performers Brenden Borellini and Georgia Cranko, both denied ‘the luxury of speech’ through lived experience of disability. Expanding out from their alternative communication needs, the production breaks new ground in artistically integrating multiple communication modes (signing, touch, palm-writing, text-keyboard, audio-describing, captioning, voice-over, movement) alongside original live music, oversized projections and compelling sound design. Breathe In is not so much a play which audiences passively observe, but a gripping sensory experience, giving unique and unflinching insight into the worlds of the artist/protagonists and, for many of its audience members, leaves their perception of living with disability powerfully, positively and permanently altered.

QUT CREATIVE INDUSTRIES BACKSTAGE AWARD

Darryl Keys

Darryl Keys is one of the most dedicated, hardworking, resourceful and skilled technicians in the industry. 

As Head Technician in the staging department at QPAC, Darryl is invaluable in mounting numerous productions, working tirelessly within his own department, while also going above and beyond to deliver the highest quality of service to external companies. 

The extreme level of difficulty to curate the build, tech and success of these productions is a perfect showcase of Darryl’s skills. 

A foundation of expert knowledge, a source of inspiration, a complex problem solver, and a staple in our technical community. 

Darryl's work is seen, admired, and immensely appreciated.