19.06.12 6:02 am
This production of The Sleeping Beauty marks the tenth anniversary of the Tasmanian ballet.
It’s a remarkable feat (pardon the pun) considering the ballet does not get outside sponsorship even though it is a very sustainable organisation. Sadly, there is also no qualification in classical or contemporary dance offered by the performing arts department of the University of Tasmania as yet because it is not deemed feasible to have such a course for a possibly limited number of applicants. However, after speaking to Mark Reddish the director of the company, it would seem there are enough potential candidates for such a course to be considered. Without a course it means that many of our talented dancers must leave Tasmania to study on the mainland and also when a production like Sleeping Beauty is staged the performers must be sourced from the mainland.
In fact this year’s production will also boast a dancer who has been working with the Paris Opera!
The Sleeping Beauty is the second ballet written by Tchaikovsky, the other two ballets he wrote are The Nutcracker and Swan Lake, both previously performed by this company. Swan Lake was Tchaikovsky’s first ballet and wasn’t as well received as Sleeping Beauty yet Tchaikovsky did not live to enjoy Sleeping Beauty’s success. It’s a very long ballet, four hours without intermission and is usually pared down for performances, similarly the Tasmanian Ballet company will pare it down while still including the best bits of choreography and music.
Most people are familiar with the story of Sleeping Beauty however there will be a few surprises, for instance the evil fairy godmother Carabosse will be depicted as a beautiful women. This was prompted by the success of the new fairytale TV program ‘Once Upon a Time’ where the evil queen is depicted as a beauty.
Another change will be made in the traditional wedding scene. This performance will not feature a host of fairytale characters like Little Red Riding Hood and Puss in Boots and others, simply because they are not relevant. The wedding scene will retain the character of Bluebeard.
If you are put off ballet because you think it is too highbrow, director of the Tasmanian Ballet Mark Reddish has this story to tell. The Tasmanian Ballet Company first visited Burnie in 2003 and three years later had gathered quite a following on their return visit. Mark recalls a man in a flannelette shirt arrived with 3 daughters in fairy costumes. The contrast in attire made it clear to Mark that ballet is for everyone not only those that dress the part.
The Sleeping Beauty will be playing at the Derwent Entertainment Centre on Saturday 14 July 2012 - 2.00 pm and 7.30 pm
19.06.12 4:25 am
He may come from Plainville Massachusetts but Jeff Kinney’s life has been anything but plain. In fact he has risen to be voted one of Time’s most influential people of 2009.
I spoke to Jeff Kinney recently when he was in Tasmania to promote his books (8 now and counting), The ‘Diary of a Wimpy Kid’ series, and to meet his fans.
‘Diary of a Wimpy Kid’ has made Jeff one of the worlds most well known authors. Its a worthy success for Jeff. He originally wanted to be a newspaper cartoonist but was frustrated in that aim and couldn’t break into the market. So Jeff decided to write a journal of his daily life not believing it would lead to the breakthrough novels. For instance the incident in the original novel where the Wimpy Kid aka Greg is woken one morning by his brother to be told that he ‘slept through the holidays’ is a completely true event that happened to Jeff himself.
‘Diary of a Wimpy Kid’ includes some biographical detail and additional ideas have been inspired by Jeff’s wife and parents.
Jeff’s books are embraced by kids and adults both, and its easy to see why. We all have a sense of the wimpy kid (Greg) and his friend Rowley in us to identify with. We feel his insecurities and sometimes endure similar calamities . We recognise ‘the cheese touch’ story, to mention just one of Greg’s adventures. We also identify with Greg when he does something wrong and fearfully awaits for his mother’s punishment. Just when the tension has eased and he is no longer walking on eggshells he discovers his mother hasn’t forgotten and has decided to punish him when he is at an apex of happiness.
A unique and very funny thing in the novels is the nonsense phrase or punchline.
‘zoo wee mama’ which peppers the novels, and will make you want or not want to, suppress a giggle every time you read or hear it.
Jeff on this his first tour of Australia has concluded that kids are the same everywhere whether from small town Massachusetts or Hobart!
‘Diary of a Wimpy Kid’ books are out now and continuing to grow! Although as Jeff says the Wimpy Kid and his protagonists never will need to, in fact their continued success depends on their continued ‘kid-ness!
18.06.12 7:22 pm
Governor Peter Underwood also gave an enlightening speech on the importance of architecture and the positive impact it can have on communities:
The full awards list:
2012 Tasmanian Architecture Awards Citations
Colorbond Award for Steel Architecture
The Shearer’s Quarters
John Wardle Architects
The Architect is given this award for the use of steel in less common yet beautiful ways that demonstrate the
versatility and sculptural possibilities of the material. Externally, galvanised corrugated sheet has been skilfully
used as cladding and roofing in a contextual dialogue with the local rural shed structures and perhaps the
silver grey of the moody Storm Bay. Refined edges and precise alignments reward closer inspection and
extend beyond familiar contemporary uses of the material. Internally, steel is delightfully crafted for the little
things - the ribbon like fire place and hearth, the dangling bookcase, the boot rack, the axe door handle and
the fire poker together form a collection of playful adventures with steel work as joinery. Combined, the result
has an original quality that stems from an intimate understanding of steel as a material and its potential.
Commercial Architecture Commendation
Aboriginal Children’s Centre
Tim Penny Architecture + Interiors
In the design of the Aboriginal Children’s Centre, Tim Penny Architecture + Interiors has created a respectful
architectural response to a contested site that has long eluded constructive collaboration between Aboriginal
and other Tasmanian communities. Internal spaces accommodating pre-school children, administration and
community facilities are arranged around a landscaped representation of Country. This play-scape, while
providing delight and discovery at face value, embodies a deeper layer of storytelling and meaning. The
vibrant and active Centre is clearly embraced and valued by the Aboriginal community it serves, and is a source
of ongoing community pride and intergenerational engagement with their land.
Commercial Architecture Commendation
Devonport Surf Life Saving Club Redevelopment
This building - a large scale work for the area - is appropriate given the client’s brief for an iconic building
representing the important local surf life saving culture. This aim is well handled by the overall folding form
and the plan’s gesture to the headland. The intriguing sculpted form provides an important ‘back rest’ to
shelter from the howling westerlies off Bass Strait, and other sheltering nooks and dramatic openings to
maximise the potential of the site. The contrast between the hard polished exterior and warm textured
interior mimics the intent of the building to resist the elements externally whilst sheltering internally, and
many of the interior spaces are richly volumetric, following the folds of the roof.
Enduring Architecture Award
Former Reserve Bank Building, 111 Macquarie Street Hobart
1969 – 1977
Designed by the Commonwealth Department of Works, R.M. Ure (Senior Assistant, Director-
General), J.D. Alterton (Assistant, Director-General Banks) and P. Tate (Project Architect)
In the 1960s, the Reserve Bank commissioned a series of prestige, purpose-built office buildings in each capital
city, all featuring high-quality Australian materials and artworks. Many were on-sold late last century, when
the bank rationalised its customer interface. The Hobart office, now in private hands, remains as an exemplary
modernist landmark, offering efficient floor plates with a side core and generous daylight.
The remaining heritage building façades in Macquarie Street influenced the design of the building, which
advances and recedes within its overall grid to respond to the scale of the neighbours, and to break up its mass
into a base, shaft and crown. Originally this varied fenestration reflected the internal planning, with a series of
apartments and staff facilities provided with balconies, which remain.
Tasmanian sandstone, skillfully modeled and worked, is used for the main façades, and the single material
provides a sense of unity and quiet luxury to the building. Adjoining the entry is an early Stephen Walker bas
relief in bronze, a remnant of the many original works which once belonged to the building.
In common with most commercial buildings, the interior has been refitted many times to suit new occupants,
but the defining qualities of the Reserve Bank Building endure: its sensitive and elegant façade, its generous
public face and its efficient accommodation.
The Roy Sharrington Smith Award for Heritage
42 Goulburn Street, Hobart
Throughout this exemplary conservation and adaptation project, it is evident that the careful investigation of
the original fabric has led to a responsive, sensitive design solution, heightened by restrained contemporary
detailing and joinery and the craftsmanship of the builder. The original hotel is now two unique apartments,
achieved by the careful reworking of the complex interior. The eastern apartment is a varied sequence of
spaces layered in section, maximising the full potential of existing structure and extracting every last inch of
space from it. The western apartment is a more conventional arrangement of the original finely-proportioned
Winding circulation enlarges both apartments, providing space for artworks and storage, whilst allowing
surprising views and generous daylight penetration. Confident detailing of the modern additions is nicely
balanced with the original patinated surfaces to give a richness that is hard to achieve. Reuse of salvaged
material from the building in new locations adds to its texture whilst contributing to its sustainability. The
exterior is diligently conserved, the new uses only hinted at by brass thresholds and a new entry door.
42 Goulburn Street is an outstanding example of adaptive reuse to suit contemporary living requirements,
allowing increased urbanity and ensuring conservation of the built heritage.
Interior Architecture Award
Paul Johnston Architects
Garagistes is the result of an unusual and successful collaboration led by visionary clients. The architecture is
integral to the holistic nature of this unique dining experience. There is an honesty and authenticity in the
food and how it is sourced, the way it is prepared in full view, served on handmade crockery and consumed
while seated on custom-crafted stools at communal tables, all designed and made locally. The industrial
character of the original garage is enhanced through the retention of the singular volume with minimal
insertions. The use of black form-ply for the bar and partitions is robust yet visually recessive against the
textures of the original surfaces and restrained rhythm of the four tables, each lit with a singular pendant
suspended between trusses.
The oversized steel entry door is purposefully half open beckoning invitation, while the threshold space is
compressed in height providing separation to the street and a sense of release upon arrival to the loftiness of
the cooking and dining volume. An elevated mezzanine office over the charcuterie provides retreat without
removal, while at ground level a single window discloses the surprise of one illuminated carcass.
Overall, the space delivers an unexpected composure and intimacy, which is testament to the completeness of
Interior Architecture Commendation
Tony Hill Dental
This small tenancy fit-out successfully facilitates contemporary dental practice in a non-clinical environment.
An existing Max Angus mosaic on the building façade has inspired the spatial treatment and use of colour,
influencing the way that spaces are divided, surfaces are treated and lighting is articulated. The planning and
program resolution maximises efficient workflow while providing a clear delineation of public and private
zones. A translucent wall offers a heightened sense of space and quality of natural light to the internal public
areas and contributes to the perceived spatial generosity of the reception, waiting and circulation areas. The
interview room allows consultation in a less intimidating environment while facilitating greater operational
efficiencies. Thoughtful use of materials and colours warms and humanises a potentially clinical environment
and connects intuitively with the heritage of the building it inhabits.
The Alan C Walker Award for Public Architecture
MONA – Museum of Old & New Art
Informed by the spirit of the ‘cultural agitant’ who commissioned this important institution, MONA’s design is
diametrically opposite to the accepted approach to public galleries – the flexible white box with controlled air
and daylight and ‘rest areas’ that provide outdoor views. The visitor is invited to plunge into Alice’s rabbit
hole, down through the bare rock to the exhibition spaces below. Here is a dark cavern where the artworks
shine out, where spaces are purpose designed for particular works, where the outdoors is excluded to provide
a total immersion into the constructed environment, where water and exposed rock are allowed to
Orientation and circulation is unconventionally distorted, leading to the delight of the unexpected. The raw
materiality of the exterior – a wrapping of waffle-slab concrete and weathering steel - continues throughout
the interior where, with textured rock walls and timber, they contrast with velvet fabrics and black steel.
Servicing is cleverly inserted in structural elements and intermediate levels such that one is completely
unaware of it – perhaps helped by the sublime lighting. Outside the predominant weathering steel is a
metaphor for the excavated landform, although its colour seems too overt to mimic nature. The repeated grid
of concrete, used externally for walls and internally for the soffits of floors, subverts expectations of scale and
size, and further abstracts the building’s exterior.
MONA is a place of mystery, exploration and wonder - unconventional, unpredictable, where the visitor can
feel comfortably lost amongst extraordinary art.
Public Architecture Commendation
Princes Wharf Shed 1
The conversion of Princes Wharf Shed 1 by Circa Morris-Nunn is unapologetic in retaining the character and
value of this ‘big shed’ on Hobart’s waterfront. A series of modest and exact insertions maximise utility while
maintaining the raw quality of the internal volume. Ingenious roll-out cooking pods cater to the complex
requirements of the Taste Festival while the ply-clad fly towers and relocatable seating, screening and
servicing elements invite multiple forms of occupation. Externally, the glazed loading bays offer visual
transparency, while raised decks fold into informal seats to complement the event seating. Although visually
inconspicuous, these additions demonstrate the dexterity of the architects in negotiating the requirements of
a difficult brief.
Public Architecture Commendation
Kingston High School
Hassell in collaboration with Jawsarchitects
Environmental and pedagogical aspirations are central to the design of Kingston High School. The planning is
conceptualised as an abstracted mathematical sine wave linking a series of classroom pods. The curvilinear
geometry is informed by an innovative approach to collaborative learning and resolves access across the
sloping site. While pods provide self-contained accommodation for each year level, the undulating ‘learning
street’ supports opportunities for informal breakout spaces. The staggering of the pods maintains views to the
river and creates various experiences of enclosure from within the learning street. The project also
successfully integrates a number of environmentally sustainable design initiatives including a green roof,
rainwater harvesting, greywater recycling, hydronic heating, and cooling of the building mass by automatic
Public Architecture Commendation
St Mary’s Cathedral Upgrade, Stage 1: Cathedral Centre
Circa Morris-Nunn was tasked with creating a new Cathedral Centre at St Mary’s to house the parish offices,
meeting rooms, crypt and choir rehearsal space. Drawing inspiration from Anglo-European gothic chapter
houses, the Centre is contained within an octagonal tower adjacent to the cathedral. Supported by a generous
budget, the building exhibits some fine detailing and employs a rich palette of materials. Most noteworthy,
however, is Circa’s extension of the client brief in the transformation of the choir rehearsal space into a
publically accessible performance venue. Working closely with Marshall Day acoustic engineers, the dramatic
domed space offers an acoustically dynamic environment finely tuned for music.
Public Architecture Commendation
Ulverstone Sports and Leisure Complex
Philp Lighton Architects
The Ulverstone Sports and Leisure Complex is an efficient and bold multi-purpose stadium, constructed as an
extension to the existing gym, standing alone on the banks of the Leven River. Developed to serve primarily as
an international-standard basketball court for a community with strong ties to the sport, the facility is also
designed with flexibility to accommodate multiple user groups. A robust structure has been created with
monumental precast concrete wall panels, angled to capture views of the river and to elegantly carry the large
expressed roof trusses. Triangulated clerestory windows accentuate this structural dialogue and flood the
space with a crisp and lively light as well as imbuing a poetic lantern-like quality to the facility at night. This
community facility responds well to the needs of the many users and the harsh realities of the marine
environment in which it stands.
Residential Architecture - Alterations and Additions Award
Patrick Street Residence
The Patrick Street Residence is a clear, refined and complementary addition to a respectfully restored late
Federation Queen Anne cottage in West Hobart. Whilst doubling the area of the existing cottage, the addition
is discreetly scaled and arranged carefully around the low central spine which continues the line of existing
corridor through the length of the building as it seamlessly expands into the living areas and outdoor room.
This glass walled courtyard becomes the centrepiece of the home, bathing it in light and introducing a playful
ambiguous quality about the threshold to outside. Clever lighting and ventilation strategies combine with
calm material choices, considered detailing and quality construction.
The Esmond Dorney Award for Residential Architecture
The Shearer’s Quarters
John Wardle Architects
The Shearer’s Quarters is a building that goes far beyond the humble utilitarian image that the name suggests.
Built as a companion accommodation building to a historic farm cottage hauntingly perched looking over
Storm Bay, the quarters are a master class in the difficult task of making something complex appear
deceptively simple and timeless.
The building sits in the landscape and immediate context with striking ease; John Wardle speaks of it being as
though two petulant farmers had an argument about whether it should be a gable or skillion roofed shed.
Whilst such an analogy makes light of the intense attention that has been paid to the built form, it speaks
volumes of how well considered it is in the rural vernacular. The expert control of subtle folded geometry
creates a ‘Janus gaze’; a form that gives a nod to the cottage via a traditional open gable before warping in its
length to present an abstract skillion towards the farm sheds beyond; its finely-detailed openings capturing
perfectly-framed views on all sides.
Another analogy used by the architect is ‘the cigar box’ – an apt description for an interior exclusively lined in
timber and the sensory assault it presents; intense yet easy on the eye, sensual to smell, soft on the ear and
rewarding to touch. Exactingly assembled and crafted, it rewards all the senses and connects deeply with the
human spirit. An inspiring experience awaits those ‘shearers’ lucky enough to stay over.
Residential Architecture - New Houses Commendation
Lagoon Beach House
The Lagoon Beach House by Birrelli Architects engages the informalities of beach house life within a highly
articulated form. An elegant timber box hovers over a white timber plinth, marking the separation between
the private accommodation for the dwelling occupants above and the communal spaces below. Pivoting
around a courtyard, described as the ‘town square’, habitation on the lower level is more loosely defined,
blurring boundaries between inside and outside, living and sleeping, public and private. Anchored by the
corner fireplace, the courtyard offers a sense of containment while simultaneously inviting occupation by the
extended network of family and friends from within the shack ‘hamlet’. The building is sensitively located in
relation to topography, privacy, climate and views and integrates a number of initiatives to reduce its
environmental impact. Most significantly the design considers the capacity for alternative patterns of
occupation as the occupants age and new generations emerge.
Residential Architecture – Multiple Housing Commendation
Maroni Close Housing Unit Development
Against a backdrop of increasing difficulty in securing the ongoing commitment of public funding for social
housing, Architectsdesignhaus has created a responsive high-quality housing development suited to a range of
tenants. The colourful interplay of forms generates variety while reinforcing patterns of the surrounding
neighbourhood. Within a limited budget, this project combines a sense of streetscape security for the
common good, with a ‘blank canvas’ opportunity for each resident to personalise the well-resolved internal
spaces and garden areas of their new home.
Small Project Architecture Award
Preston Lane Architects
The Basement has transformed an uninspiring subterranean storage area into a highly flexible boardroom,
office and function space that is rich in sensory experience. Considered planning and controlled surface
treatment have increased the perceived volume of the spaces while focusing attention toward the tactile
qualities of the existing heritage fabric. Flexible and adaptable spaces have been achieved through the use of
operable wall elements, including fold-away furniture that can be integrated seamlessly. The challenges of
pre-existing low ceilings, lack of natural light and sound transfer from upper levels have been successfully
addressed through judicious attention to lighting, heating and acoustics, resulting in an alluring ambience.
Attention to small features heightens the experience and adds elements of surprise and wonder.
James Blackburn Triennial Prize 2012
Trial Bay House
The Trial Bay House by HBV Architects is an outstanding example of complex and sophisticated residential
architecture. In awarding this project the James Blackburn Triennial Prize for Residential Architecture the jury
recognises that this project displays extraordinary architectural skill, not only in the initial architectural
gestures of the original house (designed in 1981) that set up the siting and form but also the cleverly crafted
remodelling that modernised and developed the house in 2010.
The house consists of a collection of pavilions. These are linked to create a series spaces that each respond to
different qualities of the site. The linking spaces are just as important as they articulate the journey through
the building, define external spaces, and provide transition between interior and exterior. Materiality and
detailing is highly considered, and consequently the house is spatially interesting yet calm. The overall result is
a very relaxed and enjoyable residence that is difficult to leave.
Allens Rivulet House 2
The Allens Rivulet House 2 by Room 11 is an innovatively designed, experimental house that shifts spaces
around a strong underlying grid to address the site, climate, and views. The diverse spaces created by the
building are contradictory in nature and materials yet provide a dramatic and engaging residence that
warrants an honourable mention.
Ray Heffernan LFRAIA
He is someone who found inspiration in the functional aesthetic, influenced by Richard Neutra and other 20th
century modernists, and with a focus on the fundamentals of light and space. Ray Heffernan’s architecture
embraced the International style and he skilfully adapted it to the Tasmanian context with a style that became
distinctly his own.
Over a career spanning nearly 50 years, through his tutelage, Ray influenced a generation of students and
architects and became one of Tasmania’s most esteemed practitioners.
Ray graduated in 1959 having completed his Diploma of Architecture at Hobart Technical College where he
was awarded the final year medallion. He initially worked in partnership with Graham Martin in the early
1960s before heading to Perth in 1963 to pursue professional cricket and architecture, then onto London and
Toronto before returning to Tasmania in 1967 to spend 6 years with Bush Parkes Shugg and Moon as a design
architect. Throughout the 1970s and 1980s Ray formed various partnerships with notable architects, some
resulting from working on projects like the Antarctic Division Headquarters at Kingston and the ABC Offices in
Hobart. By 1996 the partnerships had evolved into Heffernan Button Voss. Ray retired in mid-2007, however
has since kept an ongoing interest in the practice and was closely consulted in the much applauded and
awarded works carried out on his original Trial Bay House.
Some of Ray’s notable projects include the Elizabeth Street Pier, Crematorium Cornelian Bay, Clarence Council
Chambers, Government Offices Rosny, Silos Apartments Salamanca Place and the Bellerive Oval
Redevelopment. Over the years Ray’s projects have won a total of 11 Australian Institute of Architects
Awards, numerous national and state commendations and other industry awards; a most impressive
demonstration of peer group recognition for his chosen field of endeavor. Several of Ray’s buildings, currently
on the Tasmanian Heritage Register, such as the Triptree and Barnett Houses in Taroona and the Banks Paton
building in Sandy Bay, are testament to the enduring qualities of his work.
Acclaimed as a major contributor to the landscape of Tasmanian architecture when given Life Fellowship of the
Institute in 2007, I would like to further acknowledge his inspiration and contribution to our built history by
awarding Ray Heffernan the 2012 President’s Prize.
Karen Davis FRAIA
Australian Institute of Architects
Emerging Architect Prize
Peter Walker RAIA
It is difficult to condense the achievements and contributions of this year’s Emerging Architect Prize recipient
into a few short paragraphs, yet undoubtedly this year’s recipient could do it with the effortless grace, clarity
of thought and rigour that pervades all his work.
Peter Walker is both a practicing architect, co-director of newly established Cumulus Studio and design tutor at
the University of Tasmania.
Peter’s excellence in design and practice is evidenced by the numerous state, national and international
awards received by many of the projects he has been involved with or led during his time at Morris-Nunn &
Associates/Circa Morris-Nunn Walker; most notably Saffire Resort, IXL Redevelopment, Port Arthur Prototype
Suite and 2 Halls House.
Commitment and engagement within the architectural profession is demonstrated through Peter’s various
voluntary roles, including Tasmanian Chapter Councillor, Education Committee member, State Representative
for the Emerging Architects and Graduates Network and member of the Young Professionals Network.
Peter is a strong advocate of adaptive re-use and has spoken locally and nationally on this and other topics. He
generously gives his time to the profession; helping to organise events and exhibitions, and through periodical
involvement with the School of Architecture & Design, as chair of State Visiting Panels, external examiner and
It is not surprising that Peter recently won the Australian Timber Design Association Rising Star Award; he is a
quiet achiever worthy of recognition.
SWT Blythe Student Prize
Glenwood School of Viticulture and Oenology
Amy Scott’s Glenwood School of Viticulture and Oenology is a considered sensitive and confident synthesis of
architecture with site.
A series of wings are arranged in an inspired manner adjacent to a small lake. These long, elegant, languid
forms lie comfortably on the land inviting us to relax and enjoy the surrounding hills and vineyards.
The project is heartening in the way it relishes the opportunities presented in a realistic architectural
commission; a rare quality for student work.
The integration of industrial scale activity with the small scale communal activities such as the appreciation of
fine wine is deftly handled. In reviewing the project, it is clear that Amy’s composition of form and material
selection illustrate not only an appreciation of their visual qualities, but also her refined understanding of how
the site and building will be experienced across the seasons and over time.
The crafted use of raw materials, timber and stone, is analogous to the qualities of fine wine.
This project reflects highly evolved architectural sensibilities. Amy is commended for this sincere foray into
18.06.12 7:03 pm
With increasing global concern about the future of our planet, the outcomes of the Earth Summit being held in Rio de Janeiro from June 20 to 22 will be critical to all of our futures.
Gower Publishing is therefore pleased to announce the global launch of a must read book for every politician, business manager, student and community member who is keen to address the mounting global challenges we are all facing today - Plan for the Planet - A business plan for a sustainable world.
We live today in a paradoxical world. While we benefit enormously from the massive advances we have made in technology and civilization, we are simultaneously destroying the planet in which we live. Ironically, we possess both the capability of achieving long-term sustainability and the ability to accelerate our own destruction.
The challenge for our generation is to use our vast capabilities to our best advantage and collaboratively build the sustainable future that, despite what some will have us believe, we have the capacity to achieve.
There have been many books written on the subject of global sustainability but few include genuine substance backed by factual data, objective analysis and, most importantly, practical ways we can all make a difference.
Plan for the Planet, authored by Ian Chambers, M.B.A. (AGSM), B.S.W, and the late John Humble, M.A. (Cantab), draws on the authors’ combined extensive global business management experience to outline a visionary, yet practical approach to achieving an outcome we would all be proud to hand on to the next generation - a sustainable world.
Founded on key best practice management principles, Plan for the Planet contains a wealth of information and practical examples of how businesses and individuals are embracing the global sustainability agenda – examples that anyone could adopt or adapt themselves. Since its initial release, the website http://www.iplanfortheplanet.com has also been established to further increase awareness and build participation andworld wide collaboration. Coinciding with the Rio+20 Earth Summit, the global launch of Plan for the Planet provides an important opportunity to develop this further.
Mr Chambers said, “The global challenges we are now facing on the planet - continuing population growth, overuse of water resources, depletion of biodiversity, reliance on non renewable energy sources, rising food prices and climate disruptions - are far greater than at the last Earth Summit, and the timeframes to address them much shorter. The key opportunity therefore for this 2012 Earth Summit is to develop a coordinated and global plan of action to successfully tackle these challenges. ‘Fail to Plan, Plan to Fail’, said Winston Churchill. With only one planet, we cannot afford to fail.’
Steven Joyce Despard Gallery
18.06.12 6:38 pm
Hello Art Lovers,
An exciting opportunity to meet with Thomas Mann in the Gallery this week. Thomas will be in the gallery from 1pm to 3pm each day from Wednesday to Saturday (or by appointment) and has brought with him to Despard a unique collection of works created especially for his trip to Australia.
http://www.despard-gallery.com.au/index.html - Click for our page of items in stock - More arriving this week
For more information, call or email. Hope to see many of you here.
15 Castray Esplanade
Hobart Tasmania Australia 7000
ph +61 3 62238266
fax +61 3 62236496
Jenny Dudgeon Convivium Leader Slow Food Hobart
18.06.12 2:41 pm
Sunday 22nd July, 2012 at 4.00 pm – Hodgkin Hall, The Friends School
It’s time for the Slow Food AGM and Dinner. Again this year we are presenting an exciting themed dinner - INDIGENOUS FOODS, the meal will be prepared by Chef, Nick Cummins of URBAN BOUNTY. Our guest speakers include, Buz Green, Kris Schaffer, Trish Hodge and Meadowbank’s Christine Kershaw.
Further information on this not to be missed event, is below: We look forward to seeing you there:
13.06.12 4:01 pm
Eclectic musican and songwriter Nicky Bomba, frontman of Bomba and new band Bustamento, drummer for John Butler and artistic producer of Arts Victoria will be bringing a taste of the Caribean to Tasmania when he plays at the Waratah Hotel in Hobart( with special guests Boil Up) on Saturday 16 of June.
The Hobart Bookshop
12.06.12 6:11 am
What: The launch, by the ABC’s Chris Wisbey, of Chris Gaul’s adventure book, The Roads I Have Travelled: One Man’s Journey through the Australian Outback and the Islands of New Guinea, 1954-1970.
When: Thursday June 21, 5.30pm
Where: The Hobart Bookshop
Free event, all welcome.
The Hobart Bookshop
22 Salamanca Square
Hobart Tasmania 7000
P 03 6223 1803 . F 03 6223 1804
11.06.12 6:42 am
Tony Brown and Gillian Winter’s new book ‘First views of Lake St Clair’ is a wonderful collection of art work, articles, photos, scientific notes, a little mystery and even the utilisation of some detective work, all about the artists that first gave their impressions of this beautiful part of Australia. What makes it more interesting is that this art book is written by authors coming from very different disciplines. Tony is from a geologist background and Gillian, from that of an historian. The presence of these disciplines in writing about artists gives additional substance to what is a wonderful story of the artist as explorer.
There is a Lake St Clair in North America lying between Ontario and Michigan, it is named after Clare of Assisi, the saint of poverty. Its ironic that a lake bearing the name of the saint of poverty is full of the most wonderful riches of the natural world, of course our own lake is in fact named after a Scottish family so does not have the connection or reference to the Italian saint but it’s a nice allusion to make anyway!
Like a wonderful fairy tale this book about Lake St Clair itself has elements of horror and beauty. For the horror read about the explorers being told ghost stories of the escaped convicts who were caught and remained in the wilderness traps. For a mixture of horror and beauty read about the so called dead forest of Marlborough that in one night was reduced to a forest of ghost trees. Tony’s geologist background can tell us that it became so through the amazing phenomena of a single night’s severe frost but maybe we would prefer to think it was magic.
The book centres around the story of two protagonists, artists of different mediums, John Skinner Prout and Morton Allport. Although they were not literally the first Europeans to see the lake (Jorgen Jorgenson the Danish explorer, one time identifying himself as the king of Iceland was said to be the first European to see the lake but it was later deemed he took the route to Lake Barbara and not Lake St Clair after all) . Prout and Allport’s recording of it in sketching and photography respectively are the the first telling depictions of the area. Perhaps the amazing thing about it is these men of civilised manners were so keen and eager to experience what was an uncivilised area at that time and did so making light of their difficulties. In essence they were explorers as well as artists.
It is generally agreed that the first record still in existence of the area was provided by Prout and his watercolours and Alllport and his dry plate photography.
It was surveyor general George Frankland who named Lake St Clair in 1835 and its surrounds using classical names, an example of which is Mount Olympus. It was Frankland’s visit and influence that convinced Prout to visit Lake St Clair.
Prout was born in England to a father who was a musical instrument maker. Prout’s uncle was an artist. Prout emigrated to Australia and became a drawing instructor working at the Sydney Mechanics Institute and doing a variety of things including making sets for theatre.
The reasons behind his settling in Australia were bought on by the recession in England. he adored the wilderness ,yet his time here was was touched by sadness when his son Frederick was killed by boulders while playing at the Hobart rivulet.
There is a connection between these two men who were so instrumental in recording images of lake St Clair. Drawing instructor Prout would be asked by Morton’s mum to train her son in art. Mary also Morton’s art teacher was an accomplished artist herself, in fact Australia’s first professional artist who specialised in miniatures. Morton and Prout would continue to keep in contact throughout their lives and it was Prout’s trip to lake St Clair that encouraged Morton to also visit the area.
Morton was never satisfied or confident in his abilities in sketching so he turned to photography which he believed equivalent to sketching. As well as being an artist Morton was also a scientist and so offered observation and close analysis of the things he saw in his travels as well as representing them artistically. Morton was instrumental in forming the salmon ponds and introducing English flora and fauna to the colony as well as being supportive of the botanical gardens.
The detective story in this piece comes about in the mysterious figure of Paul Richolet, an Englishman who also claimed to have taken the first photographs of theLake St Clair area in 1862. Yet his name is surrounded in cloak of mist thicker than that on a Tasmanian winter day, no record of his visit or arrival on ship has ever been found.
Many believe Richolet was a non de plume for Morton as their writing styles are very similar. It may be a case of horses for courses with Morton’s other reporting being a more family friendly description of events of the expedition while the reporting of Richolet with it’s technological slant is more geared towards a photographic journal.
This book is a wonderful presentation and multidisciplinary approach in the study of an area which reinforces to us the beauty of Tasmania.
11.06.12 4:46 am
Raymond Crowe is Australia’s only unusualist. The term basically means he deals with the unusual, perhaps a step further along than the usual magician.
You may know Raymond best for his hands shadows YouTube performance accompanied by Louis Armstrong’s ‘It’s a Wonderful world’. This display has enthralled people the world over. One image that particularly resonates is the adult hand grasping the 3 month old baby hand (based on Raymond’s son). A testament to the awe and admiration Raymond’s take on the song has created, is that Raymond was sent an original sheet music of ‘It’s a Wonderful World’ signed by Louis Armstrong Himself. The hand shadows, although they have brought Raymond fame, are not the only magical experience in his act, he also is a ventriloquist without dolls, and makes jackets among other illusions.
The images Ray creates with his hands demonstrate an incredible knowledge of how the body moves and shapes itself, befitting someone who studied mime. His mime teacher an imposing Czech lady who has almost a hundred years of wisdom.‘Madam’ as he calls her, told Ray if he could harness that essential humanity in his work he would travel the world.
It seems Ray has found that quintessential humanity in his hand shadows and true to his teachers prophecy it has enabled him to travel the world, including appearing in Las Vegas at an NBC recording of a magic special featuring the world’s 20 best magicians . Ray’s also appeared on the David Letterman show demonstrating the universally loved ‘It’s a Wonderful World’ routine.
Its been sometime since Ray been here in Tassie, possibly in 1985 when he toured as magical support to Ross Skivington and then again about 15 years ago when he did a school tour of Hobart and Launceston. Ray also does frequent corporate performances. This visit to Tasmania Ray hopes to show his son some snow!
Most of Ray’s magic tricks are self taught and both his now famous YouTube hit with the hand shadows and his knowledge of general magic have a connection to Tasmania!
It’s a lovely little irony that it was during a visit to Tasmania that Ray was introduced to some of the magic he now incorporates into his act. On one occasion he had been performing at the casino and found in his pigeon hole there a magicians book from Don Poulson, a Tasmanian magician. It was also in Tasmania he was given the suggestion that his hand shadows routine would work well accompanied by ‘It’s a Wonderful world’, so the connections with Tasmania are strong.
As to the recent number of ‘spoiler’ TV specials demystifying magic secrets it doesn’t really worry Raymond. He believes people don’t retain all the information they get and even if they do they can only be amazed at the ability of the magician to hold the audience spellbound with their performance skills.
Raymond also has no qualms about his show being called ‘charming’ in fact he loves that it is a show the whole family can enjoy.
Raymond will be touring Turkey and the Ukraine among other places in the near future and of course his promise to his mime teacher ‘Madam’ as she approaches her centenary to be part of her birthday party back in Czechoslovakia.
Raymond says this may be the last time the show will be in this format it is and that he hopes to evolve a simpler show for subsequent tours.
All the more reason to get out and see Raymond on his upcoming tour of Tasmania.
You can see Raymond at the Wrest Point Casino on Friday 6 July and at The Launceston Country Club on Saturday 7 July.
Michael McLaughlin Community Cultural Development Officer Glenorchy City Council
07.06.12 7:16 am
Moonah Arts Centre’s Friday Night Concert Series
Friday June 15
Come and enjoy the hauntingly beautiful music of Riversong.
Featuring the rich and unique voice of Georgina Richmond, the intricate and rolling piano of Allan Badalassi and Rachel Walter gracefully playing violin.
They will be performing original and classic folk songs, such as ‘She Moves Through the Fair’ and Joni Mitchell’s ‘Both Sides Now’.
Enjoy a cosy intimate one hour winter concert and be swept away by Riversong’s unique sound.
Entrance by gold coin donation.
Where: Moonah Arts Centre, 65 Hopkins St. Moonah
When: Friday 15 June
Times: Doors open from 7pm for a 7:30pm start
Entry by Gold Coin Donation
05.06.12 8:46 am
$250M campaign launched in Shanghai, features Tasmanian singer-songwriter.
Tasmanian singer/songwriter, Dewayne Everettsmith, received a major boost to his career yesterday, when Tourism Australia launched the next phase of its “There’s nothing Like Australia” campaign in Shanghai.
The new $250M campaign is built around an advertisement which is to begin airing in the USA, UK, China and Australia in coming days and will be rolled out to a further eighteen countries over several months.
Everettsmith co-wrote and sings the ad’s soundtrack, “It’s Like Love”.
On being part of the campaign, Everettsmith said, “Naturally, I’m really excited, and proud, to be a part of this marketing campaign. The ads are beautiful, with very high-quality production, and to have co-written and be singing the soundtrack is awesome.”
“But what’s really special for me is the idea that here am I - a guy from just about the bottom of the planet, still to get my first album out - and my voice has gone out there, around the world, singing to people about my country. I like that!”
Despite his debut album being some months from hitting the shelves, Everettsmith has already achieved things many performers only dream about - , G’Day USA, played the Opera House, toured Europe, supported John Farnham and GeoffreyGurrumul Yunupingu and even performed a private show for Oprah Winfrey’s best friend, Gayle King.
Dewayne’s biography is attached.
For interviews with Dewayne or further media inquiries - Martine Delaney, 0417 530 621
Two versions of the Tourism Australia ad can be found on YouTube at
180 sec - http://youtu.be/3pOVfJwBd5s
90 sec - http://youtu.be/afQNJjuWxQs
All about Dewayne Everettsmith
“ … as a support act on this tour, a Tasmanian, Dewayne Everettsmith, a uniquely gifted singer with hints of the soul of Marvin Gaye and the sunny beauty of Johnny Nash. His short opening set, full of memorable songs and glorious harmonies, was spellbinding”.
Bruce Elder, Sydney Morning Herald, 31 August 2011
High praise, indeed, from Australia’s pre-eminent music critic. But, typical of the praise heaped on Dewayne around Australia during a recent national tour with Geoffrey Gurrumul Yunupingu.
And audiences were even more enthusiastic when Dewayne repeated this support role for eight shows across Europe during October – with the promoter, Dramatico Entertainment’s managing director Andrew Bowles, saying, “We’ve never before had such an amazing audience response to a support act.”
You can’t buy his debut album, it won’t be completed until mid-2012. He’s not backed by a major label or pushed by a big-league promoter. And yet - on his stage presence, song writing and the beauty of his voice – he’s spoken of as a rising star, a future great, of the Australian music industry.
Even without the album, or serious industry support, Dewayne has been places and done things most Australian performers only dream of …
• Supported Geoffrey Gurrumul Yunupingu nationally and in Europe;
• Performed a private show for Oprah Winfrey’s girlfriend, Gayle King, and Oprah’s famous “Road Trippers”;
• Starred in a Tourism Australia video, receiving over 560,000 hits on Youtube;
• Supported artists of the calibre of Archie Roach, John Farnham and Guy Sebastian;
• Wowed audiences in two shows with the prestigious Black Arm Band – including a duet with Paul Kelly during the Melbourne International Arts Festival;
• Performed in Los Angeles, San Francisco and New York as part of G’Day USA; and
• Been appointed national ambassador for the official Save the Tasmanian Devil Appeal.
Most recently, he’s been signed to be the voice of Tourism Australia’s international marketing campaign.
None of this is surprising, though. From his childhood appearances within his own Tasmanian Aboriginal community, through many festival stages around Australia and across the Pacific, his audition for Australian Idol, one thing has become very clear – Dewayne’s a very special performer.
One of those rare performers with a gift, a presence. Dewayne simply tells his story, sings to a crowded room, and most individuals listening feel he’s singing just for them. He can’t explain it and he’s not consciously trying to use it; it’s just there, it’s just him.
He’s an Aboriginal man, descended from both the Aboriginal community of Cape Barren Island and the Gunai/Kurnai people of Victoria, but his music can’t be neatly pigeonholed as Indigenous. It’s been influenced by his heritage, then shaped by his tough early years and his love of so many musical styles and great singers.
Never doubt it – Dewayne Everettsmith, a name and a voice you’ll be hearing much from for years to come.
Label – Skinnyfish Music – http://www.skinnyfishmusic.com.au
05.06.12 7:25 am
Simon Tait is an example of the boy, or rather, young man who ran away to the circus. Unusual as it may sound, a chance meeting with a clown when he was 21 years old demonstrated to Simon that the circus was the only life for him. Simon briefly diverted into managing a fast food shop but returned to the circus and now can boast a good number of years with one of the ten best circuses in the world ‘Silvers Circus.’
Silvers Circus will be touring Hobart in the coming weeks after a break of almost 5 years and there are many new acts to catch up with, including the daredevils riding motor bikes that chase each other in a huge globe without seeing where the others are and only knowing the other is there by the sound of the individual ‘revs’.
Simon says the circus is more than an occupation, it is a family, a city with in a city. Circus folk are renowned for taking care of each other and that takes on a more serious meaning when you realise that due to the dangerous component of many acts such as the trapeze and illusionists means these people are putting their lives in other’s hands and a strong element of trust is required between members.
Simon has a duel role in the circus. He is a ringmaster, blessed with a God given voice of tone and agility, skills which are equally utilised in is other role of illusionist. The moustache and airs and graces he commands with his voice and presence suit both roles perfectly.
Simon will be involved in sawing a lady in half and then be part of the so called ‘revenge’ act when he receives his comeuppance by being elongated on a stretching apparatus.
Simon’s education for this world of circus was a degree in dramatic arts from Queensland university and learning from the best in his apprentice with the famed Tommy Hanlon Jr.
This circus is distinctly modern,. You won’t see any exotic animals although there are some very clever boxer dogs to enjoy.
Silvers circus performs in Hobart on 15th and 16th June at the Derwent Entertainment Centre.
05.06.12 7:14 am
I had the pleasure of speaking to the delightful Ms Jesse Scales of the Sydney Dance Company about ‘The Land of Yes and The Land of No’, set to tour Tasmania next week.
Jesse Scales is true to her name. This is one young lady who has scaled the heights of world dance. Newly graduated in 2011 with a qualification in classical ballet. Jesse is Tassie born and her Mum worked in Tasmania as professional dance, gymnastics and drama teacher, teaching at a North Hobart school . Jesse’ s Mum is looking forward to accompanying Jesse on this tour of the Sydney Dance Company’s production of ‘The Land of Yes and The Land of No’. And is eager to help Jess become become familiar with Tassie’s weatherboard houses and Mt Wellington, and of course Jess wants to see what everyone is talking about i.e. MONA!
The family moved from Tasmania when Jesse was too young to appreciate these things. Jesse studied classical dance in New Zealand and later The Netherlands before eventually applying and winning a position in the Sydney Dance Company. This production has toured the UK and Europe to wonderful reviews.
What is’ the Land of Yes and The Land of No’ about?
Abstract and so difficult to define, it takes it’s starting point from the interest of its choreographer who has been collecting ‘signs’ (the humble street signs) for many years. It explores the situation of us following what the signs tell us to do and how following a request on a sign can impact on our lives. The dance further explores what would happen if we were to consider and question those signs. Its ultimately a sensuous story with an ambience and a reflection of mood of walls of colour and neon tubes created by art director Rafael Bonchela .
Its a gruelling life for a dancer with soreness and tiredness part of the side effects of preparing and performing and being perfectionists. Jesse tells me that the floor of the rehearsal stage at the Sydney Dance Company has the markings of the/layout of The Theatre Royal so as to prepare the dancers for performing on the Theatre’s stage.
The ‘The Land of Yes and The Land of No’ can be seen at the Princess Theatre Launceston from 1-16 June and in Hobart at the Theatre Royal from 8-9 June.
04.06.12 7:24 pm
THE PHANTOM OF THE OPERA
Music by ANDREW LLOYD WEBBER
Lyrics by CHARLES HART, Additional Lyrics by RICHARD STILGOE,
Book by RICHARD STILGOE and ANDREW LLOYD WEBBER
Licensed by Origin Theatrical (Sydney) on Behalf of The Really Useful Group (London)
All Rights Reserved, International Copyright Secured
In late 2013, Craig Wellington Productions (CWP) and the Tasmanian Theatre Unit Trust (TTUT) will present the world’s longest running musical The Phantom of the Opera at Hobart’s Theatre Royal.
Shortly thereafter, Encore Theatre Company will present The Phantom of the Opera at Launceston’s Princess Theatre.
Joint statement: “This is the biggest regional rights release of a show since Les Miserables some eighteen years ago. To be successfully granted the performance licenses for our respective regions of Tasmania is an honour. This will be the largest theatrical undertaking in memory at both the Theatre Royal and the Princess Theatre. After rigorous application procedures and many months of waiting we are over the moon with this news. At last Tasmanians will be able to see The Phantom of the Opera in Tasmania.”
- Craig Wellington (CWP/TTUT) / B. J. King (Encore Theatre)
Each production will be a separate undertaking in Hobart and Launceston, as required by the license to perform the work. Theatre communities around the Tasmania have a long history of friendship, support and cooperation, this joint announcement being a shining example of the statewide camaraderie of the theatre scene.
Ticket sales announcements and further details will be forthcoming in due course.
Craig Wellington Productions and The Tasmanian Theatre Trust have previously presented landmark productions of Les Miserables (March 2008), Miss Saigon (October 2009) and Monty Python’s Spamalot (October 2010) at the Theatre Royal. The latter two productions were Tasmanian-premieres.
“Lloyd Webber’s The Phantom of the Opera is a brilliant opportunity,” said Craig Wellington. “Our team is assembling and the hard work starts now. Audition notices will follow shortly.”
Rachel Edwards, Events Manager Fullers Bookshop
04.06.12 6:29 pm
John Biggs is a prolific author and has recently written an insightful history of Tasmania told through the filter of five generations of the Biggs family since Van Diemonian times, Tasmania over Five Generations.
He will be in conversation with the delightful raconteur and editor of Tasmanian Times, Lindsay Tuffin at Fullers Bookshop on Thursday, June 21 at 5.30pm.
John Biggs was born and educated in Hobart then travelled the world as an academic, ending up in Hong Kong.
Returning to Tasmania many years later he embarked on a second career as a writer. He has published four novels, a collection of short stories and Tasmania Over Five Generations.
Lindsay Tuffin has been a journalist/youth worker/theology student/journalist since the age of 16, working throughout Australia and the UK.
Junction Arts Festival
04.06.12 12:36 pm
On Thursday June 7, Tasmania’s young and ambitious Junction Arts Festival (JAF) will launch its 2012 Festival and Program at an official event to be held in a vacant store in Launceston’s CBD. The annual five day contemporary arts festival will launch its second incarnation amongst government dignitaries, corporate partners and VIPs, and the local arts community. The Festival will launch its newly redesigned 2012 Festival website live to the public the following day on Friday, June 8 at junctionartsfestival.com.au.
State and Local Government representatives including Minister Michelle O’Byrne MP and Launceston Deputy Mayor Alderman Jeremy Ball will make official remarks at the event. Chair Ron Layne, Festival Director Natalie De Vito, and Artistic Director Ian Pidd will reveal their vision for this year’s Festival and announce the program of artistic works. The evening will be filled with a few surprises, including a performance by local band The Old Lyric Theatre that fuses indie rock, traditional music and folk. They form part of JAF’s 2012 line-up at the Festival’s Club, The Junc Room, a big-top circus tent and pop-up live music venue that transforms Launceston’s Civic Square.
The launch, to be held in the former Jessup’s RetraVision store, currently empty in the heart of Launceston’s CBD, exemplifies the Festival’s vision for reframing and reactivating Launceston’s public spaces and city streets. Works included in the 2012 Festival Program will explore often-overlooked and disused spaces and present performances and events that engage local residents and visitors alike.
The 2012 Junction Arts Festival Program is a diverse and carefully curated selection of participatory and site-specific works from local, national and international artists in the form of theatre, live performance, visual and media art, music, dance, and installation. This year’s Festival is held August 22-26, 2012 and is mostly free and suitable for all ages.
The 2012 Junction Arts Festival is supported by the Government of Tasmania through Events Tasmania and Arts Tasmania, the Office of the Arts through Festivals Australia, Launceston City Council and local partners and sponsors.
Rachel Edwards, Events Manager Fullers Bookshop
04.06.12 12:27 pm
Meet the cast of ‘Me and My Shadow’ from award winning theatre company Patch at Fullers Bookshop on Tuesday, June 12 at 3.30pm
Fullers Bookshop is hosting some of the cast from the Theatre Royal’s production of ‘Me and My Shadow’ in their café at 3.30pm on Tuesday, June 12.
This is a rare opportunity to meet those involved with the production of this exciting piece of theatre for children and hear from them about the production and performance.
‘Me and My Shadow’ is stunning theatre for children, telling its story using paper, light, shadow, colour, water, music, sound and words.
With fantastical imagery, quirky physical performances and a beautiful score, ‘Me and My Shadow’ will ignite the imaginations of all children, and is a magical experience exploring the frustrations and joys of friendship.
The performances are on June 12 and 13 at 10am and 1pm at the Theatre Royal.
All are welcome to attend this free event.
03.06.12 6:19 am
the only way to heal ourselves and our lives is to confront
the hurts of the past head on . . .
The Longest Journey
Finding the True Self
By Amanda Stuart
Invariably when clients seek counselling, it is apparent that old
wounds — neglect, hurt and anger — are at the heart of the
presenting problem, sometimes decades later.
In The Longest Journey: finding the true self Amanda Stuart, a
respected and sought-after Melbourne counsellor, draws on 13
years of experience to highlight the effect of buried pain, and
how it relates to anxiety and depression in adults.
In these inspiring true stories Amanda Stuart describes how,
with the help of professional counselling, her clients have
triumphed over a range of obstacles and difficulties — covering
such taboo topics as a parent’s suicide and physical and sexual
Including well-written, honest contributions from the clients
themselves, this ‘important’ and ‘profound’ book will provide
an invaluable tool for counsellors, students, parents, and
anyone wanting to understand and heal issues from their past.
About the Author
Since training as a counsellor and psychotherapist, Amanda Stuart has
worked with individuals, couples and families. The main focus of her work
with clients is to develop their sense of self, to improve their relationships
(particularly with partners), and to enable both men and women to
change negative patterns in their lives. Amanda Stuart encourages her
clients to use their creativity as a means to heal emotional pain, through
writing, drawing, painting or music. Exploring clients’ dreams is a
significant part of her work, leading clients to a richer understanding of
their emotional life.
Reviews for The Longest Journey
I read this book with surprise and delight. It is written in clear elegant prose without the heaviness
of professional jargon and psychological concepts. And its great centerpiece is the author’s clients,
describing in their own words the experience of counselling and the changes they were empowered
to make in their troubled lives. It will be especially helpful to beginning therapists and the general
public, particularly those wondering how therapy works and “Is it for me?” — Bob Sharples,
Amanda Stuart has done a superb job conveying the issues that bring people to therapy. She has
highlighted themes that are central to many people who suffer for too long, and presents the stories
of real clients in a way that is easy for others to relate to. Amanda is a gifted therapist who has
conveyed the therapy process in a way that is inspirational. This is a ‘must-read’ for anyone who is
debating whether or not to make that first phone call. — Judith Siegel, Associate Professor, School of
Social Work, New York University
This is a very important book that demonstrates the devastating long-term effects and feelings
of shame associated with child abuse. Confronting buried pain is pivotal to reclaiming life after
abuse and for many of the survivors in this book, sharing their stories has been a powerful tool
in overcoming feelings of shame, anger and sadness. — Bernadette McMenamin AO, CEO and
Founder of Child Wise
Stuart doesn’t leave any stone unturned – physical, sexual and emotional abuse; alcoholism; absent
parents; bullying; sibling rivalry. How we ‘survived’ our childhood has a huge bearing on how
we cope as adults in a complex and demanding world. Stuart’s book draws heavily on clients she
has helped immensely over the years. I warn you, though, these chapters really hit raw nerves. Be
brave, read this book (to help yourself, family or friends) and take a good grasp of life – and live!
— Wendy O’Hanlon, Acres Australia
The Longest Journey: finding the true self takes the reader into the intimate space of counselling and
psychotherapy. Clients of the author, Amanda Stuart, describe how their lives were explored, pain
experienced, insights gained and the way new and more positive pathways became possible in their
lives. Anyone considering therapy and those who have embarked on the process will find this book
beneficial, as will psychologists, psychotherapists and social workers. — Dr Coral Brown, Fellow of
the Australian Psychological Society, Assistant Director, The Cairnmillar Institute, Melbourne
The Longest Journey: finding the true self is a profound book. It shares a powerful message that so
many of us have intentionally tried to hide from. Blissful ignorance is no longer an excuse. Our
children and future generations need us to learn from the lessons that are so eloquently shared by
the author, Amanda Stuart. — Dr Angus Pyke, Pyke Family Wellbeing
Paperback, 346 pages
ISBN: 978 1921829857
Publisher: Sid Harta
Rachel Edwards, Events Manager Fullers Bookshop
01.06.12 1:19 pm
Internationally best selling children’s author Christopher Paolini at Fullers Bookshop
Tuesday, June 19 at 5.30pm
Christopher Paolini, author of the Inheritance Cycle will be at Fullers Bookshop on Tuesday, June 19th at 5.30 as part of his international tour.
Paolini, who is inspired and influenced by old myth and folk tales, has provided welcome relief for many parents by re-awakening their children’s love of reading.
Paolini, who was homeschooled for the duration of his education, had the first book in the series Eragon published when he was just 19.
Inheritance, the fourth and final book in the series achieved the highest first-day sale of a fiction, non fiction, children or adult title published in the USA in 2011.
All four of his titles have been New York Times number one best sellers.
Fullers expects an audience of around 300 people to attend this ticketed event.
Tickets are $5 each and available now at Fullers.
01.06.12 1:07 pm
It’s a very special year this year for Agatha Christie’s classic play ‘The Mousetrap’. The play is famous for holding the record for the longest running piece of theatre in history. The Hobart Rep Company are putting the play on in this a very special year and I spoke to director Ingrid Ganley about the longevity of the play and celebrating its 60th anniversary.
So, why is the play so well patronised even after so long?
Ingrid says because the book is not so readily available and the only way for a wider public to experience the mystery it is by going to see the play, and of course there is a certain status acquired in being part of this historical drama and record holding play.
There is a tradition of telling the audience at the end of the performance not to divulge the ending to anyone so as not to spoil the mystique around the play. A spoiler is that Wikipedia much to the chagrin of Ms Christie’s descendants have spilt the beans as to the ending.
There is a story Ingrid told me that once London cabbies who don’t get tips, would threaten their patrons with telling them the ending of the celebrated whodunit!
The play does not boast one of Agatha’s great detectives like Poirot or Miss Marple yet it is full of classic twists that we are so familiar with in Agatha Christie.
This production has many of the usual rep players you know as well as an exciting young new comer in Eleanor Morgan a third year Uni student in Fine Arts. To cap it off Eleanor is from England so the production keeps some of that authentic English feel, as it should be in this year of honouring the British literary classic.
The play may be special but so is Ingrid the director. Ingrid got her start with the Old Nick Company and has worked with John Clarke from NIDA and has acted as an assistant director to Robert Jarman. Last year Ingrid directed ‘Noises off’. Being an Agatha Christie fan and having worked on ’Black coffee’ another Agatha production last year it’s a real treat for Ingrid this year to direct ‘The Mousetrap’. Ingrid is also a talented director of Shakespeare and each year she is involved with producing the Shakespeare in the park productions.
Ingrid is still able to fit in a day job but she calls her foray into theatre, which includes familiarisation with all aspects, including sewing costumes as a ‘serious hobby’ she loves theatre because it gives instant feedback. The play is ready and all we need now, Ingrid says, the missing ingredient… the audience!
With the film version rights to ‘The Mousetrap’ not up for grabs until the West End production has been closed for six months and with only one other production outside the West End to be produced annually as well as all the fanfare of it being in its 6oth year it’s probably a good idea to get along to this production.
The mouse trap will be performed at the Playhouse from the 25th of May to the 9th of June.
And if you are wondering how The Mousetrap got its name it was named by Anthony Hicks, Agatha Christie’s son in law. Its derivation comes from Hamlet when Hamlet is asked by Claudius the name of the play they have just seen. Hamlet incorrectly tells him it is called ‘The Mousetrap’ because he aims to ‘catch the king’ in its performance.
01.06.12 11:22 am
Tasmanians have the opportunity to nominate the State’s ‘best new building’ from 27 inspiring projects vying for top honours in the Australian Institute of Architects’ 2012 Tasmanian Architecture Awards.
At the launch of the awards exhibition at the IXL Atrium in Hobart last night, Tasmanian President of the Institute, Karen Davis, encouraged all to support their favourite new Tasmanian building.
‘The People’s Choice voting will be open until 5pm on Wednesday 13 June, with the most popular project announced at an awards ceremony in the Century Room at Blundstone Arena on Saturday 16 June,’ Mrs Davis said.
Projects competing in the awards range from interesting and unique new houses at Sandy Bay, South and East Launceston, Low Head, Mountain River, Eagle Hawk Neck and Bruny Island to affordable social housing complexes at Moonah and Berriedale and several residential projects involving sensitive alterations and additions.
Major public buildings in contention include the Kingston High School, St Mary’s Cathedral Centre, Ulverstone Sports & Leisure Complex and MONA - the much lauded Museum of Old & New Art.
Pirates Bay Pavilions by Stuart Tanner Architects. Image by Brett Boardman
Commercial projects range from the Bisdee Tier Optical Astronomy Observatory at Spring Hill, to an Aboriginal Children’s Centre at Risdon Cove and the Devonport Surf Life Saving Club Redevelopment to interior fit-outs including Tony Hill Dental and Garagistes. Some of the smaller projects include a tiny basement in Macquarie Street and St Virgil’s Centenary History Centre.
Devonport Surf Life Saving Club Redevelopment by Jawsarchitects. Image by Brett Boardman
‘Architects operating in Tasmania often have to work on difficult and remote sites or within extremely tight budgets,’ added Mrs Davis.
‘Many of the projects in this year’s awards demonstrate a high level of ingenuity and collaboration with clients and builders to produce great buildings,’ she said.
MONA by Fender Katsalidis. Image by Leigh Carmichael
To vote, log on to http://www.architecture.com.au/tas or visit the 2012 Tasmanian Architecture Awards Exhibition at the IXL Atrium from Friday June 1.
The Awards exhibition will run until Sunday 1 July in Hobart, before showing at the Makers’ Workshop in Burnie from Monday 23 July to Sunday 5 August and the Design Centre Launceston from Friday 10 to Sunday 19 August.
Projects in the running for this year’s awards are:
Architectural Project Architectural Practice Architectural Category Location
42 Goulburn St Hobart Circa Morris-Nunn Residential – Alterations + Additions Hobart
Aboriginal Children’s Centre Tim Penny Architecture + Interiors Commercial Architecture Risdon Cove
Basement Preston Lane Architects Small Project Architecture Hobart
Bisdee Tier Optical Astronomy Observatory Philp Lighton Architects Commercial Architecture Spring Hill
California Dreaming Bild Architecture Residential – Multiple Housing South Launceston
Devonport Surf Life Saving Club Redevelopment Jawsarchitects Commercial Architecture Devonport
Drift Bar and Café Jawsarchitects/Jaws2 Commercial Architecture Devonport
Grandy & Roberts Interia Design & Architecture Interior Architecture Hobart
Garagistes Paul Johnston Architects Interior Architecture Hobart
Hopkins Street Affordable Housing Xsquared Architects Residential – Multiple Housing Moonah
Integrated Care Service Building Launceston General Hospital Architects Designhaus, Philp Lighton & Health Science Planning Architects in Association Public Architecture Launceston
Kingston High School Hassell in collaboration with Jawsarchitects Public Architecture Kingston
Lagoon Beach House Birrelli Architects Residential – New Houses Low Head
Maroni Close Housing Unit Development Architects Designhaus Residential – Multiple Housing Berriedale
MONA – Museum of Old & New Art Fender Katsalidis Public Architecture Berriedale
Patrick Street Residence Liminal Spaces Residential – Alterations + Additions West Hobart
Pirates Bay Pavilions Stuart Tanner Architects Small Project Architecture Eagle Hawk Neck
Princes Wharf Shed 1 Circa Morris-Nunn Public Architecture Hobart
Somerset Alexander Ashley-Jones Architect Residential – Alterations + Additions East Launceston
St Mary’s Cathedral Upgrade Stage 1: Cathedral Centre Circa Morris-Nunn Public Architecture Hobart
St Virgil’s Centenary History Centre Tim Penny Architecture + Interiors Small Project Architecture Hobart
Swanwick Beach House Philp Lighton Architects Residential – Alterations + Additions Swanwick
‘The house is so easy to live with’ IKA Ian Kirk Architecture Residential – New Houses Sandy Bay
The Shearer’s Quarters John Wardle Architects Residential – New Houses Bruny Island
Tony Hill Dental Liminal Spaces Interior Architecture Hobart
Ulverstone Sports and Leisure Complex Philp Lighton Architects Public Architecture Ulverstone
Rachel Edwards Managing Editor Island Magazine
01.06.12 10:05 am
20 writers will gather at the Salamanca Arts Centre this weekend to slam out 30 000 words each as they compete with teams in Brisbane, Melbourne and online as part of the Emerging Writers Festival.
The writers are from a wide range of backgrounds and come with very different writing experience and goals.
This event is a fantastic, free opportunity for enthusiastic writers from all works of life and writing backgrounds to come together and indulge in a weekend of dedicated writing in a supportive environment.
It is an exercise in getting the writing juices flowing and not in the refining or editing process.
Island provides the space (the Meeting Room at the Salamanca Arts Centre), inspirational resources and a friendly and supportive host.
Island is delighted to be working with the Emerging Writers’ Festival and The Queensland Writers’ Centre to bring this event to fruition.
Dave Groves, A Digital Photographer, http://adigitalphotographer.wordpress.com/ May 27, 2012
29.05.12 8:01 am
I’m at Launceston’s best kept secret, the Tramway Museum at Inveresk.
I’m here to shoot a wicked event, the so-called “Murder on the Dis-Orient Express”.
I describe it as interactive period costume theatre.
Without giving too much away, it is involves tram rides to places of deep imagination, a crime and merry mayhem.
All this a mere stroll from the Launceston CBD!
To gain an insight into what is possible at this awesome venue, take a sneak peek at some selected photos and speak to the coves at the Tramway Museum on 6334 8334 or visit them on the web at Launceston Tramway Museum: here
Steven Joyce Despard Gallery
28.05.12 5:37 pm
Inviting one and all Art Lovers to the Despard Gallery 25th Anniversary Directors Choice opening.
This Saturday night, the 2nd of June from 5.30 pm
This will be a very special event over two levels with music, nibbles and the customary beverage amid the celebration of life through art. The exhibition will feature a large array of lovingly selected and diverse range of works from artists both local and from abroad.
This is one celebration not to be missed!
15 Castray Esplanade
Hobart Tasmania Australia 7000
ph +61 3 62238266
fax +61 3 62236496
Michael McLaughlin Community Cultural Development Officer Glenorchy City Council
25.05.12 1:48 pm
The Works Festival, Glenorchy’s biennial riverside festival of arts and culture is proud to announce it has just been awarded $34,700 in Commonwealth Government, Festival’s Australia funding, for its Flotilla project.
Flotilla is the centrepiece project of the November 2012 Festival, which will be concentrated on parkland around Elwick Bay, one of Tasmania’s most exciting new cultural precincts.
“The grant will support five talented Tasmanian visual artists, realise five large scale temporary installations in our new Festival site on Elwick Bay” said Works Festival Producer, Michael McLaughlin.
“Festival Patrons will have the opportunity to view the quirky and original works installed on both land and water, via the award winning Glenorchy Art and Sculpture Park (GASP!) boardwalk, which is itself such a feature of the site”.
“And like all Works Festival projects”, he explained “Flotilla will be inviting significant involvement by the local community to get hands on with artists in the making of the final artworks.”
Flotilla will be open to the public from November the 8th and will feature a dedicated arts education stream for primary and secondary school students visiting the trail across the Festival period.
“This will be a fantastic opportunity for students to experience how art can relate to a sense of place, through two days of artists talks, mini workshops and other practical activities” said Mr McLaughlin.
The Works Festival is a project of Glenorchy City Council.
For more information or media inquiries regarding Flotilla or the 2012 Works Festival, please contact
The Works Festival
Festival Office: Moonah Arts Centre, 65 Hopkins Street Moonah
Postal: PO Box 103 Glenorchy TAS 7010
phone 03 6216 6312
Rachel Edwards, Events Manager Fullers Bookshop
24.05.12 1:16 pm
Join author John Biggs in conversation with Tasmanian Times editor Lindsay Tuffin, Thursday 21st June, 5 for 5.30pm
John’s book Tasmania Over Five Generations: Return to Van Diemen’s Land traces the political intricacies of our unique state crystallised through the story of fivegenerations of John Biggs’ own family.
please note the Afterword Café ceases trading at 5.30pm
Fullers, 131 Collins Street Hobart TAS 7000
p (03) 6234 3800
http://www.fullersbookshop.H O B A R T com.au
Rachel Edwards, Events Manager Fullers Bookshop
24.05.12 12:05 pm
Janine Shepherd at Fullers Bookshop
Thursday, May 31st 5.30pm
Janine Shepherd was a champion cross-country skier in training for the Winter Olympics when her life was irrevocably altered when she was hit by a truck on a bike ride.
She will be at Fullers Bookshop in Hobart talking about her experience and her new book The Gift of Acceptance on Thursday, May 31st at 5.30pm.
Today, Janine Shepherd is a best-selling author and internationally renowned speaker who travels extensively in Australia and all over the world sharing her story with others.
Deepak Chopra has described Janine as having “an extraordinary ability to ignite people’s spirits and move them to find the real potential of their lives; her story inspires people around the world.”
This is a free event organised in conjunction with Hank Petrusma.
Michael McLaughlin, Community Cultural Development Officer, Glenorchy City Council
24.05.12 7:22 am
Moonah Arts Centre’s Friday Night Concert Series
Friday June 1
This is a rare chance to hear one of Tasmania’s premier folk bands and one of the most exciting young folk bands in Australia today, live at the Moonah Arts Centre as part of the Friday Concert series.
With a sound that sits somewhere between the Pogues and the Cranberries, the Blue Mosquitoes were lauded on their recent tour of UK and Ireland as a hugely energetic, talented and original young band.
Playing a wide range of music, from original songs to traditional tunes their music is contemporary with a Celtic undercurrent, taking the audience on an emotional journey - from aching ballads, through soulful reflections, to frenetic foot-stomping jigs. With exquisitely versatile vocals, instrumental alacrity and an infectious passion for music, this is a band not to be missed.
Where: Moonah Arts Centre, 65 Hopkins St. Moonah
When: Friday 1st June
Times: Doors open from 7pm for a 7:30pm start
Entry by Gold Coin Donation
23.05.12 7:54 am
‘Syncopation’ is the title of the Theatre Royal’s soon to be visiting production of dance and drama. ‘Syncopation’ is defined as ‘a variety of rhythms which are in some way unexpected which make an off-beat tune or piece of music. More simply, syncopation is a general term for a disturbance or interruption of the regular flow of rhythm: a placement of rhythmic stresses or accents where they wouldn’t normally occur.’
Perhaps that also describes the storyline behind the title, the offbeat relationship between a Jewish meat packer and an Italian seamstress that are brought together to partner each other in ballroom dancing. I spoke to one half of the cast, the lovely Emma Palmer last week prior to her visit to Tasmania. Emma says her character, Anna Bianchi is ultimately searching and this partnership in the play may see her find what she is looking for.
Syncopation by Allan Knee is like nothing that has been done before as Emma and her co-star Justin Stewart Cotta who plays Henry Ribolow are the only actors on stage and must be able to deliver dialogue while performing dance moves.
With the surge of interest in ballroom dancing due to television programs like ‘Dancing with the Stars’, ironically the plays choreographer once worked for the program, the play seems timely.
Emma is a NIDA trained double threat of actor and dancer as opposed to the triple threat of singer, dancer and actor. Emma is classically trained in ballet but believes that with training in any discipline of dance it makes it much easier to dip your toe (pardon the pun) into many other dancing styles with ease.
When Emma isn’t acting in a play like this one, or maybe one less strenuous as she agrees this is one of the most challenging things she has done, you can see Emma as a befriender of Big Ted on playschool as well as making appearances in other quality Australian dramas.
With minimal staging the play must evoke images through the magnificent work of the actors who make us believe they are at Coney Island, on a boat, in a rehearsal room or on a street location.
Emma will be touring with Syncopation until the end of July and tells me then it will be back to Big Ted. Emma also tells me she will be show fit and ready to dance when she arrives in Tasmania, a place she has never been before. Emma hopes to do some walks on Cradle Mountain and visit Port Arthur when she is in Tassie.
Syncopation can be seen at the Theatre Royal on 29th and 30th of May.