As Cio Cio San in the award winning Playbox production seen here with Peter Wilson, puppeteer extraordinaire and the puppet child. The most rewarding piece I ever did. Cast included Pamela Rabe. I won a Green Room award for this role.
In order for drama and music to be full partners in operatic performance, singers must have a working understanding of how their bodies communicate and are perceived on stage. I believe in training young artists to be just as articulate in their physical characterisations as they are in musical and vocal terms.” Spatial awareness, physical coordination, body confidence – all these are necessary to communicate effectively with an audience.
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A singer's body must be fit for purpose. Certain postural and lifestyle habits can cause seemingly insurmountable hurdles for the developing singer. This website contains links to highly effective, professional practitioners who may be able to young singers to get their bodies in optimal working condition for singing. Included are links to Feldenkrais, Laryngology, Massage, Osteopathy and Speech Pathology
As an opera singer I was often found at the production desk during stage rehearsals. This is the operating base for the director, lighting designer and stage manager when rehearsing an opera. The realisation that I wanted to direct as well as sing, lead to me directing operas for Opera Q (formerly Opera Queensland), Pacific Opera, Sydney Conservatorium of Music, Pacific Opera and restaging and assisting at Opera Australia. I truly love this work – especially when working with emerging artists and look forward to taking on more of it in the future.