Carclew are searching for a "highly energetic and driven individual who will jump at the opportunity to work as part of a dynamic team of arts and cultural leaders".
They are currently advertising the position of 'Arts Administration Traineeship' for a 12 month appointment.
The role offers a practical and skills based entry pathway into arts administration.
The successful trainee will contribute to Carclew's Community Program, undertake on- and off-the-job training in arts administration, be mentored and trained by leading professionals and upon completion will receive a nationally recognised Certificate III in Business Administration (Arts).
Applicants must be available to commence the 12-month appointment in July 2014.
HOW TO APPLY
1. Download and carefully read the information and eligiblilty criteria
2. Download and carefully read the job and person Specification
3. Download and complete the coversheet (available to download from this link)
4. Submit your application by 5pm, Friday 27 June 2014
The application must include the coversheet, a cover letter, the applicants current CV with responses to essential requirements as listed in the selection criteria and as outlined in the job and person specification. Applicants are also required to include names and contact details of three referees and evidence of date of birth.
Aboriginal and Torres Strait Islander people are strongly encouraged to apply.
Applicants are reminded that the period for submissions closes on the 27th of June at 5pm.
The 2014 Adelaide Cabaret Festival’s Variety Gala Performance kicked off last night and marked the opening of the final year for Festival Director, Kate Ceberano.
The 2014 festival runs under the title “Not Your Usual Suspects” and includes 480 artists delivering 180 performances over the 16 days and nights of the event.
According the Ceberano she has “cultivated a motley crew of artists, musicians, singers and comedians who’ll rattle the bars” at the Gala night. The event, which was hosted by Musical Theatre star, Todd McKenney is a “tasting plate” of what the 16 day festival has to offer.
This year’s festival highlights will include well-known names such as Anthony Warlow and Rhonda Burchmore, but will boast a program of more “unusual acts”, in order to deliver the festival’s theme.
Adelaide Festival Centre CEO and Artistic Director Douglas Gautier says: “After months of meticulous planning [the] Adelaide Cabaret Festival is finally here. Audiences are in for three weeks of outstanding performances from local, national and international stars of the highest calibre.”
As always Barefoot’s reviewers will be on the ground covering a range of shows from the festival, so be sure to keep checking back to see what we’ve been up to! Some of the shows covered will include ‘Little Bird’ staring Paul Capsis and co-presented by the State Theatre Company, ‘Swing On This’, ‘Brian D'arcy James’, ‘Kathy Najimy’, and Adelaide's favourite Cabaret Festival returning act Mark Nadler.
The 2014 festival showcases 23 world premieres as well as a further 12 Australian premieres and Artistic Director Kate Ceberano says, “I have fulfilled my wish list of amazing artists to showcase at this year’s Adelaide Cabaret Festival. As I flick through the program I really do marvel at the number of amazing stars on show, as well as the depth of talent we’ve compiled in this incredible lineup. I feel confident that I am leaving a vibrant and relevant festival in the very capable and entertaining hands of Barry Humphries.”
Tickets are available via BASS on 131 246 or online at bass.net.au. Full program details can be found at adelaidefestivalcentre.com.au.
Not to be outdone, Adelaide's famous fringe event is running concurrently too. The Adelaide Cabaret Fringe festival has an exciting mix of local artists performing around town, so be sure to check out their program online at cabaretfringefestival.com. It’s that special time of year when Adelaide goes crazy for cabaret folks; get amongst it!
Paul Rodda
Outstanding opportunities for outstanding young artists.
Carclew, a multi-artform organisation dedicated to artistic outcomes created by South Australia's youth, have announced their scholarships program for 2015.
Each scholarship has a one-off allocation of $12,500 to be used for professional development as determined entirely by the recipient.
The four scholarhips available are:
Dame Ruby Litchfield Scholarship for Performing Arts
- Acting, dance, direction, choreography, circus, performance, music.
Ruth Tuck Scholarship for Visual Arts
- Sculpture, drawing, painting, digital, photography, design, ceramics, glass, craft.
Colin Thiele Scholarship for Creative Writing
- Original creative writing: novels, scripts, poetry, prose, rhyme, stories, plays, film scripts.
Carclew Scholarship for Film and New Media
- Film-producing/directing, script writing and develoment, documentaries, cinematography, animation, trans-media production, biotechnology and arts, virtual world and gaming, video art, research into new technologies for screen and media
The scholarships represent an amazing 'once-in-a-lifetime' opportunity for young artists. Applicants could potentially pursue a mentorship, internship or further study.
Carclew are also awarding the Independent Arts Foundation Franz Kempf Printmaker Award.
This $4,000 award supports the professional development of a South Australian printmaker, generously supported by Independent Arts Foundation member and internationally recognised, Adelaide-based artist Franz Kempf AM.
The scholarship applications, which are to be pursued in 2015, are now open. The closing date for applications is the 15th of July 2014.
For more information or to submit your application check out the Carclew website of follow the link below directly to their scolarships page.
Follow the conversation on Twitter #artsfundingSA
Described as one of the all time greatest 'High School Films' The Breakfast Club both defined a generation and decoded the traits all teens share hidden behind a veneer of sterotypes and predjudice.
Thirty years ago, a ragtag gang of rule-breaking youths entered a library and embarked on the most epic detention sentence the big screen has ever seen.
The actual Detention Date was March 24 1984 when the loveable misfits of The Breakfast Club entered a Saturday morning detention at Shermer High School in suburban Chicago.
Now the full production comes to the Adelaide stage when Matt Byrne Media presents the classic John Hughes film live, at the Holden Street Theatres from October 22 to November 6.
Producer/Director Matt Byrne has announced the casting for his stage adaptation of The Breakfast Club.
"We had a fantastic turn out for auditions that really showed how much talent is coming through in Adelaide," Byrne said.
"I want to congratulate all the amazing young actors who came and auditioned, it was a privilege to see all your work.
"For the audience I hope you will come along and get the full Breakfast."
The cast will feature James King as "The Criminal" John Bender, Kacy Ratta as "The Princess" Claire Standish, Jamie Hornsby as "The Brain" Brian Johnson, Lachlan Hywood as "The Athlete" Andrew Clark, Kristen Tommasini as "The Basket Case" Allison Reynolds, Brendan Cooney as Carl The Janitor and Matt Byrne as Principal Richard Vernon.
"This year we celebrate the 30th Anniversary of the film which changed so many lives.
"Not just for the Brat Pack cast of Judd Nelson, Molly Ringwald, Emilio Estevev, Allie Sheedy and Anthony Michael Hall, but for all the parents and students who have watched, lived and loved the story over the years."
The Breakfast Club will run October 22-25, 29 to Nov 1 and November 5 to 8 at 8 p.m. with matinees on November 1 and 8 at 2 p.m.
Bookings are available on 8262 4906.
They Say She's Different - The Music of Betty Davis. Adelaide Cabaret Festival
Betty Davis is not to be confused with Bette Davis.
One is edgy, gritty and dirty and the other is a golden oldies star.
It is Betty with a "Y" that Cecilia Low is bringing to the Adelaide Cabaret Festival. She's Betty Davis out-there rockfunk chick who was once Mrs Miles Davis.
"Betty used to hang out with Jimmy Hendrix and Sly and the Family Stone," Low explains.
"She was only married to Miles Davis for a year but in 1969 he changed his sound.
His Bitches Brew happened because of Betty."
Davis later was to acknowledge this. He was also to divorce Betty because of her relationship with the psychedelic era rock guitarist Hendrix. He was sure she was having an affair with him. Betty always said not.
Low describes her as "a person who connected people", a charismatic star in her own right, a "celebrity's celebrity".
"Everyone wanted to be around her," she says.
Betty Davis had started out as a model but she was drawn into the wild music world of the 60s, recording with the likes of Santana and the Pointer Sisters and dating Eric Clapton. She was to produce her own raw and earthy funk sound which was to excite many.
"She has a very hard wedge and was a handful to listen to," says Low.
But Low was among those to be fascinated by her - albeit a lifetime later.
"When I was at the Elder Con, before I left Adelaide, someone must have re-released her music," she recalls.
"My sister Jaci said 'it made me think of you' and bought it for me. Why, I don't know. She'd never done anything like that before. But it became my go-to music.
"I'd never heard a woman sing like it before. It's not acrobatics, like Maria Carey or Aretha Franklin. Betty Davis tells stories and they are compelling.
"I knew I'd do something with her. It just grew and grew".
Cecilia Low's talents were honed in Adelaide and she has never lost touch with her home town. Her credits include Sondheim's ‘Assassins’ with Flying Penguin Productions and the Yaschin Company's adaptation of Gabriel Garcia Marquez's ‘I Only Came to Use the Phone’.
Stretching her wings, she was to perform in blockbusters such as ‘Miss Saigon’, ‘Rent’ and ‘The Lion King’, which took her all around the world.
Now settled in Melbourne, she has been working in production for film theatre and photography, being lead singer in two bands, ‘A Little Something’ and ‘Slide Night’ and establishing herself in a day job.
"I did something I really wanted. I went back to school and became a remedial masseuse," she declares.
"Now I have my own little business, Ci Cure."
Having suffered her own assorted injuries in the tough discipline of musical theatre especially, she says, in the latter year of the Lion King in London, she understands the injuries and the therapies of theatre people. She knows too well how they exacerbate injuries with their "the show must go on" philosophy.
Now she loves the fact that many of them are coming to her for treatments - musicians, dancers, Circus Oz performers, Warhorse performers...
"I know about the crazy injuries a lot of puppeteers suffer. I relate to performers." Her work in movie house production was, she says, to give herself "a different take on the arts" - and, now partnered with cinematographer and lighting designer Cameron Zayec, she has brought a fresh element of the cinematic to her Betty Davis show.
"I want to blur the line between a live and cinematic gig," she explains. "There are pre-records and live projections. All the senses are covered. I even have a dance floor with a mirror ball and I encourage people to get up and boogie."
She brings the show with inputs from bass player Tony Kopa, as musical director, Kenneth Moraleda as director, Amanda Riley as "style and fro tamer" along with Phil Ceberano on guitar and Greg Patten on drums. "I started working on the script when I was in London but shelved it. A year or so ago, I restarted it and the timing was right," says Low.
"It had been slowly forming inside me.
"But I was wondering who could be in it. I had not thought of it being me."
It took but a suggestion from a friend for the penny to drop and the singer/dancer to step into the character of fusion queen, Betty Davis. She is not delivering Davis as a linear story rather than delivering an overall impression of Davis's time in musical history.
"She was right in the middle of it," Low exclaims. "We are focusing on the time from 1968 to 1972.
"By 1975, she had left the scene and become a recluse.
"She just stepped away."
Low believes that Betty Davis was ill treated by the industry in her day, probably because she was so outrageous and provocative.
"She screeched and screamed and talked about sexuality," she says.
But she was a catalyst in the history of music - and she was different.
Samela Harris – talking to Cecilia Low
When: 19 & 20 June
Where: Space Theatre
Bookings: bass.net.au