Like the Oscars AACTA decided to split its award ceremonies in two with the Industry Awards being held a couple of days before the front of camera awards. Nevertheless the behind the scenes awards were supported by well known stars in appreciation for the work that they did.
The big winner was ‘Lambs Of God’ which received a record number of nominations and won seven awards.
Musical Director Bryony Marks won two awards for her work on ‘Lambs Of God’ as well as 2040.
Children’s television is a fiercely contested area at the luncheon however it was a forgone conclusion that the smash hit Bluey helmed by Charlie Aspinwall,Joe Brumm,Daley Pearson and Sam Moor would be the winner having secured deals with Disney and the BBC, the later marketing it worldwide.
The best visual effects and animation award was won by the Australian team of Janek Sirrs, Cyndi Ochs, Brendan Seals, Andrew Zink, for their work with the Marvel franchise and especially for ‘Spiderman: Far From Home’.
There was a front of camera award for Best Supporting Actress award, Magnolia Maymuru.
Featured image: Deborah Hutton. All pics by Ben Apfelbaum
Many talents contribute to the making of a fine play, and in ROSENCRANTZ AND GUILDENSTERN ARE DEAD which opened to an enthusiastic full house at the Sydney Theatre Company last Saturday, those talents were clearly visible.
The production was seamless, Simon Phillips’s direction flawless, the set both perfectly functional and satisfyingly inventive, the sound effects appropriate and the lighting (and, at all the right moments, the total darkness) effective.
As for the actors, all the cast were excellent and gave consummate performances. The stand-out ones, because of their major roles, were Tim Minchin as Rosencrantz, Toby Schmitz as Guildenstern, and Ewen Leslie as the Player. The play is long (about two and a half hours), and one has to admire their ability to memorise so many lines. Because the play is, in effect, a “three-hander”, its success, or otherwise, rides squarely on their shoulders. It can be stated, without reservation, that each meets that challenge adeptly. Indeed, for a large part of the play, Schmitz and Minchin are on the stage alone yet, by their actions, voices and timing- they seem to fill it.
Nevertheless, none of the above is truly memorable unless the play itself is a good one. History tells us that Tom Stoppard’s play must be very good, as it has been performed innumerable times all over the world since its premiere in 1966. Certainly it is replete with one-liners, puns and wit, and these all drew much laughter. But it must be said that without a knowledge of HAMLET you would not have any idea about the storyline, and even with that knowledge there were long periods where you would be equally lost.
It is an existential play, outwardly hugely comic, and inwardly very sad. If you do not like this unique combination, then the fine exercise of all the aforesaid talents still won’t make watching this play a totally enjoyable experience. However if you do like that mix, then this production is truly great theatre.
This Sydney Theatre Company and Commonwealth Bank production of ROSENCRANTZ AND GUILDENSTERN ARE DEAD, directed by Simon Phillips, opened at the Sydney Theatre, 22 Hickson Road, Walsh Bay on Saturday August 10 and is playing until Saturday September 14, 2013.
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