Michael works as a theatre director, producer, script adapter/writer, designer, scholar and educator. He has produced and directed over fifty-five productions within the professional, independent, university, education and youth arts sectors. Michael is co-founder of The Curators’ Theatre and, since its inception, has adapted, designed and directed Henrik Ibsen's Ghosts, The Third Beauty: Shakespeare’s Women and Chekhov's Uncle Vanya. He co-created and directed The Quighting Time (Anywhere Festival, 2017).
Michael previously founded heartBeast Vicious Theatre Ensemble writing, directing and designing the company’s inaugural production Beautiful Frankenstein, which was later workshopped Off-Broadway. For heartBeast, he directed and designed The Cherry Orchard, Oberon, cloudCuckooland, Beauty is Difficult and Away whilst producing and co-writing Vivien Leigh’s School for Scandal. In conjunction with heartBeast and Metro Arts, Michael directed the creative development of Clearwater.
For City Theatre, he directed The Hollow Crown, Fig in the City, produced Third World Blues, Pauline the Musical and dramaturged Cloudland. For Gyre Theatre, Michael directed, produced and designed The Beekeeper’s Daughter, The Cenci, Scenes from an Execution and The Master Builder.
As a Fulbright Fellow, Michael studied in the MFA Graduate Directing Program in the acclaimed Drama Department at Carnegie Mellon University (USA) where he directed Requiem, Love Child and Diving for Pearls. He also worked as an assistant director on the Moscow Arts Theatre School’s Three Sisters (CMU) and on Queensland Theatre Company’s production of Summer Rain and Diving for Pearls. Michael was Brecht consultant on Once in Royal David’s City (Queensland Theatre). As an associate artist with La Boite Theatre, he directed Sun Kisses, Piano in the Garden and William.
Michael believes very strongly in nurturing emerging artists. Consequently, he taught directing, acting and Australian drama at CMU and at QUT where he also directed Love of the Nightingale and Uncle Vanya. Notable youth theatre projects include The Spark, Bluebeard’s Love, Counterglow, The Pitchfork Disney, Mountain Giants, Hamlet, Cyprus Experiment, Royal Hunt of the Sun, Pippin.
Michael was Vice-Chair of the Qld Theatre Industry Alliance, Founder and Principal Editor of Ignite Theatre Journal and co-author of Dramatexts (Jacaranda John Wiley, 2009). He holds a First Class Honour's Degree in Drama (UQ), Graduate Diploma of Teaching (Drama) and has undertaken doctoral studies in directing (QUT). Additionally, Michael has trained with Mike Alfreds, Augusto Boal, Diane Cilento, Anne Bogart, Jacqui Carroll and John Nobbs.
He is also currently Artistic Director of The ARC Acting Studio and President of The Curators’ Theatre Management Committee.
An actor, director and teacher, Adrienne has worked extensively with Brisbane Indie theatre company, heartBeast Ensemble, in addition to actively fostering community engagement in the Arts. She is a founding member of The Curator’s Theatre and was on the management committee for heartBeast.
Theatre: heartBeast Ensemble (Directing) Julius Caesar; (Directing/Acting) Vivien Leigh’s School for Scandal; (Acting) Hamlet, Six Characters In Search of an Author, Lear, Away, cloudCuckooland; Beauty is Difficult, Cherry Orchard, Oberon, Beautiful Frankenstein, Vivien Leigh’s School for Scandal; Cement Box Theatre: Scott of the Antarctic on Ice Arts advocacy: Youth in Arts Vacation School (Producer and Presenter), Artz@theCoalface (Producer) Community Engagement: Woman Images (TAFE), Herstoria (TAFE), Everyman (St Mary’s Church, Ipswich), The Christian Brother (St Edmund’s Alumni) Arts education: Primary and Secondary (including Musical Direction, Festival plays and major school events); Performance and Communication Studio working with both young people and adults on AMEB and Trinity College, London exams as well as communication and audition skills. Adrienne has presented at conferences and adjudicated drama festivals and eisteddfods and is a passionate cultivator and promoter of the Arts in all its many forms.
Peter works as a designer, actor, musician, composer and producer of theatre in Brisbane. He is the co-founder (with Michael Beh) of The Curators’ Theatre. He is also co-founder, with Genevieve Morrow Ganner of Design Bordello, a creative design business that collaborates with independent artists to help actualise their visions.
Peter is a multi-instrumentalist, having arranged and performed live music for the past twenty years. He has designed sound for theatre productions including: The Curators’ Theatre The Third Beauty, Shakespeare’s Women (2018) and Uncle Vanya (2017), Dog Spoon A Coupla Dogs (Brisbane Festival, 2018). Peter composed and arranged music for The Timekeeper’s Opus (Pentimento Productions, 2017), and Oberon(heartBeast, 2011). He arranged and performed keyboards, upright bass and sound for Awesome Ocean Party with Giema Contini (Wonderland Festival, Brisbane Powerhouse, 2019).
The partnership that is Design Bordello is dynamic, covering a range of design disciplines including production design, graphic design, sound and costume design. The team also make props and had the great opportunity to work in prop construction in the 2019 Eurovision telecast and, prior to that, a three-metre-high dress for the 2018 David Jones Christmas Parade. They have designed and built sets for Awesome Ocean Party with Giema Contini (Wonderland Festival, Brisbane Powerhouse, 2019), True West(Troy Armstrong Management, Brisbane Powerhouse, 2016), Cherry Orchard (heartBeast, 2011), and designed and constructed costumes for Tiptoe (Pentimento Productions, 2015).
As an actor, Peter has performed in independent theatre since 2007. He performed multiple roles in Darcy & Elizabeth, an adaptation of Jane Austen's Pride and Prejudice by Nigel Munro-Wallace (2016), the role of Lopakhin (Cherry Orchard, heartBeast 2011), and that of Bottom in A Midsummer Night’s Dream (Brisbane Arts Theatre, 2008).
Peter is a web designer and creator. His clients have included The Curators’ Theatre, heartBeast Ensemble, Dog Spoon, Liesel Zink and Giema Conti. Design Bordello have also worked with feature films, television and many short films.
Throughout her career, Lisa has combined work as an actor and teacher of Drama and has an extensive body of work. She is a founding member of The Curator’s Theatre and a member of the ensemble’s core committee. Lisa recently performed as Mrs Helene Alving in TCT’s production of Ghosts by Henrik Ibsen. Other performance credits include:
Theatre: La Boite Theatre The Enemy Within (director: Malcolm Blaylock), The Perfectionist (dir: Jim Vilè), No Exit, The Threepenny Opera (playing Mrs Peachum, dir: David Bell), The Secret Diary of Adrian Mole (Pauline Mole) and War Women (dir. Sue Rider), Plastik (dir: Mark Radvan), Angry Housewives (musical dir: Paul Dellit), The Summer of the Seventeenth Doll (playing Olive, dir: Don Bachelor), The Maids, Popular Front (dir: Therese Collie), Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean (dir: Mike Bridges); ToadShow Productions: Conway Christ and The Hound of Music (dir: Sean Mee); Acronym Theatre Co: King Lear, The Visit and Teachers; Fractal Theatre Co: Female Parts, The Yellow Wallpaper and The Untouchable Julie; David Fenton’s Venus and Adonis, Grin and Tonic: Shakespeare’s Birthday Celebrations (QPAC), That Production Company: When the Rain Stops Falling (at Studio 188 and The Judith Wright Centre), heartBeast Theatre Company: Julius Caesar; Melbourne Fringe/La Mama: Tramp-O-LIne; Conspiracy Theatre Company: Richard II; Growl Theatre: Rumors (dir: Simone de Haas). Lisa has participated in play-readings with Playlab Theatre and TCT. She has worked on projects including Out of the Box and Warts and All Community Theatre’s production of Frenzy, funded through Queensland Health and featured in the Brisbane Fringe Festival.
Film: Lisa has performed in numerous short, independent films in both Brisbane and Melbourne, and recently appeared in the cinema release Swimming For Gold (2020). Television: Her television credits include Fire, Paradise Beach, Blue Heelers, Australia’s Most Wanted, Neighbours, Backberner, Stingers and numerous commercials, voiceover and acting in educational and corporate videos including online training modules (Telstra) and overseas phone menus (Expedia). Podcast: She recently completed a sci-fi series Beyond Strange Lands for Audible. Voiceover: Lisa is a voiceover artist on The Voice Realm website. Radio: Lisa’s passion for new music found form as a community radio announcer for Brisbane’s 4ZZZ (14 years) and Melbourne’s PBS (15 years) where she voiced numerous commercials and station promos. She has worked for ABC Radio (Drama, Melbourne). Training: Bachelor of Arts (University of Queensland: English Literature, Drama, French and German majors.)
Amanda is a founding member of The Curator’s Theatre and part of the ensemble’s core committee. As a proud member of MEAA since 2000, Amanda has performed in many roles across a range of media. Her most recent performance for TCT was Anita, the grieving mother in Philip Ridley’s compelling two hander Vincent River. In 2017, Amanda co-created, produced and performed the solo role of Simone in The Quighting Time with TCT as part of the Anywhere Festival. Her other performance credits include Theatre: The Curators’ Theatre: Uncle Vanya, The Quighting Time, Vincent River; Make Theatre: Mortality and Polity (Adelaide Fringe Festival and Brisbane season); Black Light: Crave (Metro Arts); Emerge Project and Judith Wright Centre: Generation Pizza, Carbon Footprint Cabaret, Going Down (Ten x Ten Squared), Lexie Turns To Stone, Perfect 10; Stage Door Productions: The Hollow; Starbuck Productions and QPAC: Murder on the Nile; Diane Gough Productions: Brave New World Order; Improbable Theatre (UK) and Brisbane Festival: Sticky; Canberra Philharmonic: Land of Smiles, Paint your Wagon,Camelot; Canberra Opera: Iolanthe. Web Series: Two Weeks, Scout. Television: Slide (Playmaker Media/Hoodlum Entertainment). Film: Rise, A Heartbeat Away (dir. Gail Edwards), Pipe Dream, Welcome to the Lucky Country (dir: Peter Hegedus) Community Engagement: Amanda has a long history of simulations training, offering her skills in role-playing to the Corporate sector. Training: Amanda studied in the acting program (Advanced Diploma in Performing Arts) TAFE Queensland - Southbank Campus. She has trained extensively with master teachers and professional artists including Jean-Pierre Mignon, David Field, Scott Williams (Impulse Company), Margi Brown Ash, Andrea Moor and Steven Mitchell Wright. Amanda has attended NIDA Summer School (Sydney) and worked extensively at Chris Sommer’s scene studio. Awards: Nominee Matilda Award – Best Emerging Artist. Amanda will soon celebrate a decade working as an Usher and Tour Guide at QPAC.
Helen is an independent theatre maker, arts educator and advocate. A founding member of TCT, she works in this team to co-produce the artistic program and strategic vision of the ensemble. Helen co-founded KITE Theatre, a ground-breaking company that during its lifespan employed approximately 350 artists and performed to 500 000 young people.
As an actor, credits predominately include KITE Theatre and La Boite Theatre: War Women (director: Sue Rider), Medea (dir: Jim Vilè) and The Threepenny Opera, (dir: David Bell). During her time at KITE (and formerly ECDP), Helen co-devised and performed in fourteen new works which toured Queensland and nationally. Notable productions: Whose Beach is it Anyway? (dir: Sue Rider, lighting designer David Walters, QPAC); The Day the TV Busted (dir: Rick Billinghurst, QPAC) and Jean de Brunhof’s Babar the Little Elephant which Helen adapted and directed, in collaboration with QLD Theatre Orchestra. Film: Ravensfield (dir: Stephen M. Irwin), Shepherds (dir: Peter Wiltshire). Radio: Inside Out (ABC), Colin Thiele (Media Production Services) and numerous voiceovers.
Directing credits include: Odd Bods (KITE-touring), The Mayne Inheritance (with Markwell Presents), The Macbeth Project (devised with playwright Angela Betzien) and Antigone (devised by Drew der Kinderen, Zen Zen Zo). Assistant director: The Matilda Women (dir: Sue Rider, The Changeling, (dir: Mark Radvan), Dirty Linen (dir: Don Bachelor). Studies in directing include AFTRS Women Film Director's Workshop with director Di Drew, Actor-Director Relationship masterclass with Jerzy Domoradski, attendance at Lee Strasberg Theatre and Film Institute (affiliated New York University) and the British Theatre Association (London).
As an Arts Educator, Helen worked as Head of Program (Arts), Education Liaison Officer (QTC/QAC), actor-teacher (KITE, ECDP), tutor/guest lecturer (QUT and Griffith University). She was the lead author for Dramatexts (Jacaranda John Wiley, 2009), a book that explored cutting-edge practice and creativity for Senior and Tertiary students.
Arts education/dramaturgy work with devising teams to produce new works include: Loaded Stories and The Doll (director: Tom Gutteridge), Blacked Up (dir: Wesley Enoch), Blow’im (dir: Therese Collie, playwright Eva Johnson), Newton’s Law (Strut’n Fret, dir: Scott Maidment), Children of the Black Skirt (dir: Lettie Cáceres, playwright Angela Betzien).
Awards: Premier’s Arts Encouragement Award, ASEA Excellence in Arts Education (awarded to KITE Theatre).
Training: Helen holds a Master of Arts (Research, The Autonomous Actor exploring the work of actor, teacher, director Linda Davies. Research participants included Cate Blanchett, Lucy Bell, Angie Milliken - QUT); Graduate Diploma in Communication Practice (Film/Media - QUT), B. Ed Studies (QUT), Associate Diploma Performance and Theatre (BCAE), LTCL, ATCL, ASDA. Master-classes with Jacques Lecoq, Augusto Boal and Lindy Davies.
Elizabeth is a founding member of The Curators’ Theatre and an actor who has now turned her talent to stage managing. She recently stage managed TCT’s productions of Philip Ridley’s Vincent River and Henrik Ibsen’s Ghosts. Elizabeth was also a producer on both productions and is Treasurer of The Curators’ Theatre Management Committee.
As an actor, Elizabeth previously worked with the widely respected Salamanca Theatre Company in Tasmania over a period of years. Here she developed, performed in and toured shows into schools, colleges and community theatre venues state-wide and interstate. She worked with several independent theatre companies in Tasmania including Breadline Theatre Company, Illusion Circus, The Round Earth Company, as well as the Tasmanian State Theatre Company. Elizabeth was also a founding member of Zootango. Her performance work includes Prometheus (written and directed by Richard Meredith), I Must Have One of My Own (written and directed by Anne Harvey), Little Brother Little Sister, Dusthog (written and directed by Les Winspear), Annie’s Coming Out (dir: Kerry Dwyer), The Ship that Never Was (written and directed by Richard Davey), Juke, The Whale - the Biggest Thing that Ever Was (dir: Barbara Manning), Much Ado About Nothing, Ptarmigan Man, Equus, Seasons Greetings, Henry and Peter and Henry and Me (dir: Peter Kingston, Theatre Royal, Hobart) and a one woman show, The Death of Minnie (dir: Sandy McCutcheon, Theatre Royal’s Back Space). Her most recent performance work was Casca in heartBeast Ensemble’s 2019 production of Shakespeare’s Julius Caesar.
Elizabeth brings extensive experience in social work, social justice and public service senior executive management to The Curators’ Theatre. She was responsible for program and departmental governance in state and regional governments in Tasmania and Queensland and now looks forward to developing this bold, new, independent theatre company. Training: Bachelor of Social Work (UNSW), Graduate Diploma - Social Science (Public Sector Management, UTAS).
Warwick graduated from NIDA in 1973 and since then has worked as an actor in all aspects of theatre, film and television. His major credits on stage include performances with Queensland Theatre Company in King Lear, The Rivals, Godspell, Peter Pan and Aladdin. With Melbourne Theatre Company Warwick appeared in Rosencrantz and Guildenstern are Dead, The Club, Macbeth, Hamlet, and The Alchemist. For The Old Tote Theatre (now Sydney Theatre Company) stage productions included Abelard and Heloise, The Wolf and Equus. Other notable productions over the years included Piaf and Canterbury Tales for J.C. Williamsons, Irma la Douce, The Play’s the Thing, The Bacchae, Bedroom Farce, Flowers (with Lindsay Kemp), The Dream and Shadowlands. Warwick also played C.S. Lewis in the Crossbow Production’s Shadowlands at Brisbane Powerhouse.
As an Associate Artist with The Curators’ Theatre, Warwick appeared in Uncle Vanya, The Third Beauty, Shakespeare’s Women and Ghosts. As an Associate Artist for heartBeast Ensemble, he appeared in cloudCuckooland, Vivien Leigh’s School for Scandal and Away. He was an advisor on Beauty is Difficult.
Television: Warwick’s credits include Bellbird, Company Men, All the Rivers Run, Skyways, Prisoner, Neighbours, Skirts, Blue Heelers, Flipper, Beast Master, Lost World, K9, The Strip, Safe Harbour. Film: His major film roles include Double Deal and opposite the late Diane Cilento in Duet For Four. Cameo appearances were made in Escape and Evasion, Dead Men Tell No Tales, Thor Ragnoruk and Aquaman.
He has worked at major theme parks on the Gold Coast, with over 10,000 performances of the Police Academy Stunt Show, over 2,000 performances of Maverick, as well as numerous street theatre entertainments and appearing as Tom Jones in musical tributes.
Warwick has taught acting for the stage, film and television for nearly twenty years. He holds a Post-graduate Diploma of Education, enabling him to bring his knowledge, experience and insights into the adult and child education sectors. He has a Certificate IV in Training and Assessment and works in primary, secondary and special education areas for Education Queensland.
Lauren brings a range of versatile skills to The Curators’ Theatre. As a performer she is an actor, singer, dancer and presenter. She is also the marketing manager for TCT.
Lauren’s first production for The Curators’ was Henrik Ibsen’s Ghosts (Regina). Other theatre credits include; That Production Company When the Rain Stops Falling (Young Gabrielle York, Judith Wright Arts Centre), Doubt (Sister James), God of Carnage (Annette Raleigh), Pains of Youth (Marie), A Lie of the Mind (Sally), Two Weeks with the Queen, all directed by Tim Wynn; Ipswich Music Theatre Company Mary Poppins (Mary), Ladies in Black (Patty), Wicked (Nessarose), Les Miserables and The Sound of Music (Elsa Schraeder); Ipswich Little Theatre: An Inspector Calls, Stepping Out, Sin Sex & the CIA, Sex, Drugs Rick ’n’ Noel; Redcliffe Music Theatre: Mary Poppins; Play reading The Destruction of You and Me by Tammy Weller as part of That Production Company’s Performance-In-Progress season; Other: Presenter work includes Ipswich City Council (ICC) Mayor's Christmas Carols, ICC’s New Year’s Eve Events, Ipswich Art Awards, and numerous ICC Ipswich Festival events.
Lauren has a strong appreciation of community-based organisations and has been involved with the Blackstone-Ipswich Cambrian Choir Inc. for more than twenty years. She was also an active committee member of the Regional Arts Development Fund (Ipswich Division) for several years, working alongside like-minded creatives to foster local artists. Awards: Gold Palm Theatre Award for Best Actress (Mary Poppins); Training: Bachelor of Business (University of Queensland), ATCL (Associate Diploma in Speech & Drama-Performing, Trinity College, London), Certificate of Performance - Singing (Australian Music Examinations Board). Short Courses-NIDA (Acting) and Queensland Shakespeare Ensemble (Absurd Theatre).
Further to her involvement with the arts, Lauren is an award-winning retail marketing professional, receiving an Excellence in Marketing Award at Queensland Property Council’s Shopping Centre of the Year Awards.
Philip Ridley’s Vincent River is Patrick’s third production with The Curators’ Theatre. Patrick Shearer has been acting and performing for the screen and stage since 2016. His most recent theatre roles include Dr Black and Jack Cobalt in the Brisbane Immersive Ensemble hit, Cluedo! The Interactive Game, as well as Puck in their immersive adaptation, The Midsummer Carnival. His earlier roles include Dan Kelly in Ad Astra’s Matilda Award-winning production of Kelly, Osvald in The Curators' critically acclaimed Ghosts, and Juliet, Portia, Hermia, Ophelia and Witch in The Curators’ spellbinding piece, The Third Beauty, Shakespeare’s Women. Patrick’s recent screen roles include Max Zoric on ABC's mystery series Harrow (Hoodlum Entertainment and ABC Studios), and Douglas in the AIFF20 (Australian Independent Film Festival) Jury Award-winning indie short, Crack. Other film credits include The Wolves that Live in Skin and Space, A Girl Called Lola, Between a C**k and a Hard Place and Roommates.
Patrick is currently preparing for the 4MBS Shakespeare Festival's production of A Midsummer Night's Dream (dir: Eugene Gilfedder), in which he will reprise the role of that shrewd and knavish sprite, Puck.
Training: Patrick holds an Advanced Diploma in Acting for the Screen and Stage (The Performing Arts Conservatory, 2017). During that time he performed in Romeo and Juliet and Eric Bogosian’s SubUrbia.
Beth Scott is an up-and-coming lighting designer and production artist. In 2019, she debuted her work for The Curators’ Theatre, designing the lighting for Henrik Ibsen’s Ghosts. This was followed by creating the lighting design and operating both lighting and sound for Phillip Ridley’s Vincent River.
Beth is an alumna of the Bachelor of Fine Arts (Technical Production, Queensland University of Technology), a course that provides intensive training across multiple performing arts forms and technical disciplines. She graduated with a huge passion for set and lighting design. Her love for lighting, first found expression in 2017 when she lighting designed The Motherf**ker with the Hat, (QUT’s Season of Contemporary American Plays). This was followed by multiple design roles including set designing the 2018 Season of Contemporary American Plays featuring QUT's third-year acting students. A mammoth undertaking, the design involved three back to back plays: Good People; Spike Heels; Rapture, Blister and Burn.
Since graduating, Beth has continued taking on multiple roles in the live theatre industry, including: 2018 - Assistant Stage Manager - Sydney Festival (Parramatta), Assistant Stage Manager - Spinifex Gum (Sydney Festival - Sydney Opera House) 2019 - Lighting Designer Book of Mormon (Queensland Performing Arts Centre); Technical Coordinator - Brisbane Festival (Treasury Brisbane Arcadia, a social/performance space); Set Designer - High School Musical (All Hallows' School); 2020 - Local Flyman, Happy Prince (Australian Ballet, QPAC) and The Book of Mormon (QPAC).
Beth participated in the La Boite Theatre Company’s Twenty-One Program (2019), a program designed to 'engage with twenty-one emerging artists in a six-week skills development and showcase program’. Beth was a production artist and in collaboration with the other artists (writers, actors and directors) designed the lighting, set and vision for six monologue pieces. As well as embracing her creative side, Beth works around Brisbane as a theatre technician and mechanist. She has always had a strong passion for creating; believing that through the theatre and the arts, we have the power to leave a message that not only resonates with audiences but moves them to action.
Naz has been a professional freelance photographer since the mid 1990s. His formative years were spent studying the arts, including fine art, literature, drama and philosophy. Whilst attending Rhodes University, Naz specialised in a photojournalism degree and was fortunate enough to work in the field as a stringer for a few news agencies after he graduated.
After spending a few years in the trenches, shooting news events, conferences and editorials, Naz took the leap into the world of commercial photography and continued his growth as a visual artist. The opportunities available to him allowed Naz to travel and work in many corners of the world.
A few of his cherished assignments include working as a documentary photographer for UNESCO on a health education project, being commissioned and published by the Museum of Central Africa in Belgium on a project focussing on Southern African art and sculpture and photographing the iconic Queen Mary 2 cruise ship whilst she was being built in St Nazaire, France, and during her inaugural cruise.
Naz has been a resident of Brisbane for the last fifteen years and continues to work as a freelance photographer. Apart from his daily life as a freelancer, Naz is now working on long term projects with a variety of subject matters from performance art to the ever changing world of urban built environment. His aim is to produce photographs that are historically significant and which chart contemporary culture and its story. firstname.lastname@example.org
Wayne is a multi-disciplinary artist based in Brisbane. He has worked on local feature film projects alongside his passion projects with a small group of like-minded artists based out of Los Angeles, California.
After completing a Bachelor of Creative Writing with a major in Journalism, Wayne took time off study and decided to travel, relocating to Montreal City, Canada. He somehow found himself working with some great artists, inspiring him to pack his typewriter away and pick up pencil and paper. On his return to Australia, he enrolled at SAE In a Bachelor of Interactive Entertainment (Major - Animation). He thought he’d found his passion but during his last semester of studies he discovered the world of semiotics. This led him to Griffith University where he undertook his Honours dissertation entitled: What an Excellent Day for an Exorcism: True Stories of Possession on the Big Screen and their Ability to Induce an Emotional Affect in their Audience. On completion, Wayne wanted to make movies, so returning to SAE he enrolled in a Bachelor of Film, which led ultimately to the Masters of Creative Industries and his study on New Queer Cinema.
Wayne loves to dream bigger and then go even further with every project he takes on. He wants to push boundaries and — at times — other people’s boundaries, but always he wants to create projects that people will talk about. Wayne finds the idea of creating a discussion around his work far more appealing than fame of money. (But they would be nice too!)
Wayne has just taken the first steps in launching his own band of artists, "The X Collective" with the aim of taking Australian queerness to a wider audience. He also hopes to put all this learning to good use and — given the opportunity to teach film, encouraging others to love the medium just as much as he does.