Comments Off on So you didn’t see ‘As You Like It’? What Ever Major Loser!
ShakeSoc concluded its 2024 season with what seemed like a celebration of some of their veterans, putting on As You Like It in the Ralph Wilson Theatre. Reframed in the style of the 2000s Disney classic Camp Rock, India Kazakoff and Kathryn Keane brought a new life to this Shakespearean comedy.
As You Like It follows heroine Rosalind as she flees her uncle’s court alongside her cousin Celia, whilst her lover Orlando similarly flees his brother’s court. Both end up at Camp Ardern, where Rosalind, dressed as a shepherd, pretends to cure Orlando’s love for Rosalind by having him woo her. Many characters are introduced along the way, and many marriages ensue à la Shakespearean comedies. While it’s not the easiest Shakespeare plot to follow, we think he may have broken the record for the number of weddings in a singular scene.
Yet another new venue in these treacherous times (a closed Kambri Theatre), the Ralph Wilson Theatre was a decent choice. While audience capacity was on the smaller scale, the stage size was adequate with room for characters to enter and exit through multiple wings. Maybe a niche critique from us — not that ShakeSoc had any control over this — was the uncomfortable plastic chairs that left our butts numb. Overall, this venue served the purpose of this production well, with professional sound and lighting rigs.
Directors Kazakoff and Keane are no strangers to a ShakeSoc production, which was evident in their well thought-out show. Directorial changes, including name alterations to parodies of Disney actors, a baptism using a spray bottle and a saxophone serenade, brought original comedy to a classic script. However, where some modifications to the script occurred for the Camp Rock theme, certain moments required additional changes to align with the direction, most notably a wrestling scene that became a guitar battle. Overall, more unique alterations were made to this show than previous ANU recontextualizations, allowing for a production full of nostalgia and laughter.
A standout performance from an overall strong cast came from first-year Angus Murray as Jacques. Whilst Shakespeare’s ‘All the World’s A Stage’ monologue can be a daunting undertaking, Murray rose to the occasion. Whilst Jacques is the melancholic foil of this show, this 2000s emo-esque interpretation of the role brought joy and humour.
This show witnessed the return of Toby Griffiths, playing Duke Frederick. Arguably the best technical actor, with not only the widest range and clearest diction, Griffiths should be once again applauded for another strong performance.
The backbone of the production was Georgia Nolan’s Orlando, acting as a consistent presence with occasional comedic moments. Further praise should be given to Chloe Tuazon’s Rosalind, who not only had strong romantic chemistry with Nolan, but potentially an even stronger familial bond with Ellie Fintoff’s comical Celia. Overall this veteran-heavy ensemble allowed for a strong cast that were able to play with differing interpretations of this script.
Lighting Director Jessica Luff’s use of a more professional lighting rig than Kambri’s was evident throughout, with contrasting colours, spotlights and fades ensuring an interesting overall lighting design. Whilst more minimal in the first Act, the best of this design was seen in the later half, notably the interrogation scene. Complementing Luff’s lighting was Sound Designer Tom Lyle’s sound design, featuring both music and background effects. At times, strange sound levels had us questioning whether music was intended for that particular moment. A highlight was the use of The Proclaimers ‘I’m on My Way’ during the journey scene, adding a comedic element to walking across a stage.
Set for this production consisted of a few large pieces, including a tent, a blowup boat, a paddle pool, and some greenery — though these were not used in the production. While these pieces set the scene, there was potential for more interesting and integrated designs. Overall, the props were within the specified period, complementing the direction choices, with fun nods to the 2000s including a Bluetooth earpiece, a Nokia flip phone and copies of Twilight. A moment of confusion occurred when Orlando emerged holding a crutch, later revealed to be a sword. Given the number of swords used in previous ShakeSoc productions, this seemed a strange choice.
Where set and props may have been minimal, costume design by Alana Flesser and Alex McNeil served to bring to life directors Kazakoff and Keane’s Camp Rock vision. Notes from the movie were evident in Rosalind’s double-denim layered outfit with a thin overly-long scarf, alongside Phoebe’s iconic jeans adorned with a pink butterfly and diamantes. But where the others were giving Camp Rock, Celia’s costume was giving Clueless, and we were disappointed when she didn’t have a costume change, although the iconic reveal of a headband compensated for this.
On the whole, As You Like It proved to be our favourite ShakeSoc show of the year. More committed to a distinct theme, drawing out as many jokes as possible yet still true to the Bard’s work, this production was an entertaining way to end ShakeSoc’s 2024 season. Congratulations to all involved in ShakeSoc productions this year, we can’t wait to see what 2025 has in store.
Comments Off on Nothing makes sense: The beautiful eeriness of Pomona
NUTS’ 2024 season concluded with the other-worldly Pomona, the first amateur production of this show in Australia. Neither of us had ever heard of this show, so we had very few expectations going into it, and upon leaving we were both taken by the complexity and hypnotic nature of this production.
This nonlinear work centres on Ollie, who is looking for her missing sister. Beyond this, much of the play is up to your own interpretation (we’re still coming up with competing theories about what it all means and how it ended).
NUTS staged Pomona at the Ralph Wilson Theatre. For a review of this space and the overall comfort of the seating, please refer to our review of As You Like It. For this production, the space served its purpose and beyond, with its multiple entry points adding to the ambience of this haunting experience.
Director Teagan Matthews should be celebrated for her ability to bring this immensely difficult script to life. From the moment you stepped foot into the theatre you were immersed in a spine-chilling experience that, due to the lack of intermission, never truly ended. It is evident Matthews not only read but consumed this script, and whether or not her understanding aligned with ours, it led to a thought-provoking show. Matthews’ use of physicality and movement was a particular highlight. In particular, the fight choreography between Isaac Sewak’s Charlie and Rory Carter’s Moe was well-executed and more realistic than most student theatre productions. The best directing by Matthews was the use of game pieces — both dice and Rubix cubes — to enhance the intensity of Ollie’s journey through the tunnels of Pomona. The direction and movement of this scene is difficult to explain in print, and can only be described as a beautifully intense triumph.
This performance featured a strong cast of seven, many of whom were fresh faces this season, all with the incredible ability to solve a Rubix cube on stage. We wonder if this was part of the audition process (Caitlin would have been cut). Sewak’s Charlie provided both comedic and dramatic moments throughout, and when acting alongside Carter, the pairing’s chemistry provided immense depth and range.
Kudos should be given to Alex Ellwood, whose stoicism never broke, contrasting the chaos of the surroundings. Ellwood was arguably challenged the most by the script’s time jumps, which necessitated various characterisations throughout the play, and Ellwood should be celebrated for a well-thought out performance. Marcelle Brosnan should also be applauded for acting as the show’s sounding board, providing some much needed clarity and mothering.
Though Malachi Bayley’s set never changed, it was adaptable, converting into an apartment, an office, a brothel, a gate and Pomona. The set featured multiple components that transformed what was otherwise a bare-boned theatre into Matthew’s mind. The creative set-up of black flats, some of which were adorned with graffiti and colourful posters, as well as a door, allowed for multiple points of entry, enhancing the mystery that is Pomona. Bayley also collated the props, which were well-integrated into the set, utilising the filing cabinet and numerous draws to allow for seamless transitions between scenes.
The costumes for this show were quite simple and not the focus. Whilst apt for purpose, they weren’t a stand-out of this production. A special nod should, however, go to the collection of nerdy shirts worn by Charlie throughout.
This show was technically exceptional. Both Paris Scharkie (sound) and Marty Kelly (lighting) were the creative glue holding this show together. Sound played a pivotal role in this show, with the consistent background noise making moments of silence all the more eerie. Kelly’s lighting design was interesting and truly utilised the entire capacity of the theatre’s set-up. The recurring motif of the kaleidoscope-like spiral when the Dungeons and Dragons game was being played was innovative and probably some clue about the meaning of this play, which we are still trying to figure out several hours later. The use of torches and hand-held lights in otherwise-darkness allowed the audience to feel involved in Ollie’s journey and the intensity of her path. Overall, both sound and lighting were extremely well-timed and rehearsed, aligning with even the most marginal of dialogue cues. Whilst often underappreciated, for this show in particular, it cannot be understated how impactful and considered the technical design was.
We hope one day to figure out the meaning of this show, but regardless loved every confusing and thought-provoking moment. Whilst attendance on the particular night we saw the production was low — a particular shame considering the incredible work and effort put in — hopefully, the reopening of Kambri (fingers crossed) in 2025 encourages more of ANU to experience student theatre.
Overall, NUTS should be congratulated for another incredible show and an impeccable season that was both cohesive and kept us on our toes. We can’t wait to see the direction NUTS goes in during 2025.
Comments Off on Swarming with talent: Wright Hall bee-witches with the 25th Annual Putnam Spelling Bee
When we heard that Wright Hall was making the brave choice to put on a production of The 25th Annual Putnam Spelling Bee musical this year, we were intrigued. Despite both being avid musical theatre fans, neither of us knew much about this show.
Putting on a musical is no easy feat, and Wright certainly impressed us with their ambitious delivery of this crowd-pleasing production. The show centres around a peculiar group of six students participating in a regional spelling bee. The six tweens are accompanied by three equally eclectic staff members, and four audience members selected from the crowd on the night. Each speller is highlighted with their own unique songs and backstory, allowing the audience to understand the motivation behind competing in the bee.
As we continue to explore the theatre venues of Canberra — seriously, did anyone know there were more than three? — Wright selected the Polish White Eagle Club. What seemed like a bizarre venue turned out to be a great stage, well-adapted for this show. In saying this, the set remained unchanged throughout, and this limited backstage crossing would have made most theatres suitable. The high stage had high school assembly vibes, and the only improvement that could have been made — not that Wright had any say in this — was the lack of raised seating. Overall, surprisingly the Polish Club has amazing lighting capacity and was a smart choice.
This production was directed by second-year Elizabeth Barnes, who should be applauded for her production of an ultimately cohesive and entertaining show. Barnes’ directing certainly brought out the best in this cast, whose individual talents were showcased in their distinct characterisations of their roles. A directorial challenge for this show is preparing your cast to be versatile and continually interact with the audience members brought on stage and Barnes certainly ensured both audience and cast were comfortable and engaged. Personally for us, with this particular cast, a comedic play might have been better suited. Due to the immense acting talent on-stage, and at times weaker vocal moments, a play would have highlighted the stronger aspects of the performance.
Spelling Bee did not require an excessive amount of choreography. Despite this, the choreography that was incorporated, led by Katie Leib, proved cohesive, entertaining and dynamic. One of the few numbers featuring the entire cast was ‘Pandemonium’ which proved to be one of the strongest choreographed numbers of the show. Not only was the cast in sync, but the audience members involved on stage were helpfully led along by the rest of the cast, making for a hilarious inclusion.
Centring the cast was Amy Gottschalk’s Olive, whose quiet but consistent presence showcased her extreme depth and range. Notably, the song ‘I Love You’ proved the most heartwarming number, showcasing Gottschalk, Emma Gannon and Jeremy Arndt’s stellar voices. Arndt was further featured alongside Liam Frost as gay dads, who perfectly brought the dance mom energy to spelling bees. Further standout characterisations were Maya Gribble’s nerdy child activist nerdy Logainne, Patrick Fullilove’s socially awkward and snotty William, as well as Madeline Gailee’s energetic and loveable Leaf. All actors should be applauded for their unique interpretations of these roles.
Costuming, led by Ilise Laidlaw, was a spot-on nod to the awkwardness of being a tween, with those embarrassing fashion choices we all went through. Special acknowledgement should be made to the hilarity of Logainne’s rainbow pride accoutrements and Leaf’s distinct cape and helmet, which enhanced their roles greatly. June Atkin’s makeup was nothing short of impressive in the way it aged Douglas Panch. A strange but entertaining inclusion was Mitch’s juice box tattoo, a nod to his character presenting the eliminated contestants with a commissary juice box.
From the moment the curtains lifted you truly felt as though you were in a high school auditorium ready to watch a spelling bee. Set designer Lizzie Cao definitely made use of Wright’s artistic talents, hand-painting numerous signs and banners to adorn the wings. Overall, while simple in some ways, this set was well-executed and a stand-out for this production.
One of the biggest issues we had with this production was the sound. Unfortunately for musicals with microphones, they are often unreliable and difficult to work with. Throughout the production, different cast members’ microphones periodically turned on and off, rendering some lines inaudible. Whilst significant efforts were made to improve this throughout, at times switching to hand-held microphones, this was especially unfortunate as at times cast member’s sound levels were unable to be heard over the backing track. In saying this, we are not entirely sure what the Polish Club’s sound capacity was to start with, and sound is often temperamental and may have improved for future performances.
Where sound sometimes had its faults, the lighting design of this show by Meg Mundy was well-timed and creative. Notably, the comedic spotlighting of an audience member in the seat reserved for Olive’s absent parent was precise and appropriately awkward for the moment. Creative rainbow lighting during ‘Pandemonium’ enhanced the hectic nature of the song, complimenting the choreography nicely. Overall, Mundy should be applauded for her well thought-through lighting design which kept the audience both engaged and entertained.
Whilst neither of us were sure what to expect with this production, we were both amazed by the talent of Wright Hall. From comedic interactions to heartwarming melodies and innovative set and lighting, this college should be extremely proud of what they achieved. Kudos to Barnes and all involved, and we hope Wright continues this legacy of strong college productions in the future.
Comments Off on Woroni Art Editor Casual Vacancy 2025
Woroni’s Board of Editors is looking to fill a casual vacancy for the position of Art Editor for 2025, this position will commence as soon as possible and end on the 19th of November 2025.
The Art Editor runs the Art portfolio, overseeing a team of around a dozen student volunteers as they plan and contribute art works to Woroni. The Art editor is also the principal editor responsible for the layout of Woroni‘s six print issues a year. The role is an exciting opportunity to work with passionate volunteers to create content that matters for the ANU community, made by the community itself.
The Art Editor sits on the Board and is a Director of the organisation, responsible in part for the overall direction of Woroni.
Ideal applicants will be passionate about the visual arts, have experience with team management, be organised and punctual, and be willing to dedicate 15 hours per week to Woroni duties. They do not have to have prior experience with Woroni, but such experience is highly recommended. They must be an ANU student.
The position is not paid, but Editors may receive an honorarium for their work.
Applicants must answer the questions below, and if successful, will be interviewed by a panel of three current Editors. Applications close on 20 January 2025.
Woroni is committed to accessible and diverse hiring. If the hiring process can be made more accessible for you or if you feel you have different requirements for any reason, please email woronideputy@gmail.com and we will do our best to accommodate your needs.If you have any questions, please email woronideputy@gmail.com
Comments Off on A reminder to feed your dad: “Third Storey” debuts to packed audiences
Easily the bravest choice of NUTS’ 2024 season was their first ever full length student-written play, Third Storey, written and directed by Eli Narev and Adam Gottschalk (pictured above). We had little to no expectations walking into this show, and upon leaving could only describe it as “on crack, but in the best way.”
Third Storey follows prank influencers Jax and Gene, who have been awarded a grant to make a feature film. The play follows the chaos of their creative process as characters slowly stray from sanity in their attempts to adapt Franz Kafka’s Metamorphosis into a one-woman motion picture. Locked in a three storey house, the script explores complex systems of rules, family dynamics, the hunger for perfection, and an attic full of possum shit.
The original script was witty, deeply funny, heart warming and often unexpected. Narev and Gottschalk should be commended on the multi-faceted nature of the characters they created, building an ensemble of individuals easily recognisable to a modern audience. Many of the script’s most tender moments occurred between Annabelle Hansen’s Judie and Beth Fuccilli’s Bev, where the writing touched on some of the difficulties of parenting, questioning to what extent we are all impacted by the choices our parents make. A standout writing and directorial moment in the first act came from an attempt by director-character Jax (played by Adelaide Hayes) to shoot the one-woman scene sequentially one line at a time. As the characters scrambled to perform quick changes, the comedic direction of Elizabeth Barnes’ Alison counting down by ones each time she switched personas had the audience dissolving into laughter.
While the script was excellent overall, it could have potentially benefited from further editing. The production — especially the first act — felt overlong at times. This length can be attributed to attempts to give too many characters tragic backstories, which were at times rushed, and lengthy duologues that could have been shortened or cut.
Turning now to the cast, both of our stand-out performances came from Fuccilli and Mischa Rippon as Bev and Graham, the loveable, stereotypical Aussie parents. The moment they stepped on stage they brought a refreshing lightness that cut through the length of Act One, being comedic, touching, and most importantly giving a sense of humanity to the show. The pair’s talent was further highlighted in the dramatic twist at the conclusion of the show, where despite blood pooling from his mouth Rippon, with stoic determination, refused to break character, whilst Fuccilli continued to movingly comfort her husband.
Paralleling their parents’ dynamics, the sibling duo of Hayes’ Jax and Callum Doherty’s Gene highlighted the range of these actors. In particular, Doherty’s raw, haunted expression at the end of Act Two silenced the audience. Another actor of note was Thomas Neil in his portrayal as the dorky, golden retriever boyfriend Dom who arguably had one of the more significant character developments throughout, emphasising Neil’s versatility as an actor. However other characters, like Pip and the Producer, felt a little rushed and underdeveloped.
An unconventional inclusion for this production was an original garment from Bridget Matison who created a one-of-a-kind cockroach inspired showgirl costume. This bold choice highlighted the eccentricity of the film being created, enhancing Barnes’ dramatic interpretation of Kafka’s Gregor as a cockroach. Additionally, the evening wear used for the award show scenes provided contrast to the otherwise ordinary costumes used throughout the rest of the show. Overall, the costume design led by Lara Connolly was cohesive and enhanced the portrayal of each of the characters.
The set for this production was exceptional. Credit must be given to set designer Katja Curtin and assistant set designer Grace Fletcher who managed to transform Kambri drama theatre into a convincing family home. There were two major sets, the first being the exterior of the house, with well-executed painting of black flats making the set look three-dimensional. The second set displayed the interior of the home, utilising a raised stage to highlight two of the three storeys. The set was further enhanced by the cohesion of the actors’ entrances and exits, at times circling behind the stage to illustrate the journey of travelling to the second floor. Furnished with effective props, this set is certainly a stand-out from the sets we have seen in Kambri this year.
Unfortunately, during the blackouts where set and numerous prop changes occurred the backstage crew moved at what felt like a glacial pace, with a lack of transition music, forcing the audience to hone in on the movements of the crew. Where the script was already long, this elongated the show further.
The lighting design by Jessica Peacock was effective, using spotlights and blackouts where necessary for the script. Whilst at times slightly delayed — Kambri lighting is notoriously unreliable — more creative lighting may have enhanced the script. An inclusion we might suggest would be varying the lighting when the camera was rolling to dramatically differentiate. Further, Genevieve Cox’s sound design was apt for purpose and well-timed.
Neither of us were quite prepared for the dramatic twist at the denouement of this production. All we can say from that ending for those who did not get to see the show is…remember to feed your dad. Overall, the show proved an immense success and we are excited to see what is next for the witty writing duo of Narev and Gottschalk.
I downloaded Letterboxd in November. For the uninitiated, Letterboxd is an app where you can rate and review and add new movies that you watch to your watched list. I wasn’t bothered with the rate or review function, to date I’ve only reviewed two movies. No, the downloading of this app precipitated the awakening of something much worse: a deeply competitive streak centred around beating everyone in my life in one category: number of movies watched.
Many late nights followed as I tried to remember obscure childhood movies to add to my watched list, and a burning desire was born to watch every new film released in cinema. A desire that I indulged as much as I could. I haven’t reviewed these films on Letterboxd, so what follows is a Woroni Exclusive (that no one asked for).
Here is my review of every movie I watched in cinema this summer, in the order that I watched them.
BIG SPOILERS AHEAD
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The Boy and the Heron
This didn’t have the same magic as the rest of Haiyo Miyazaki’s filmography. But the five minutes of screen time Florence Pugh’s character had made me very happy.
The Ballad of Songbirds and Snakes
As someone who read the book… boy am I glad they didn’t include Snow’s internal monologue in this movie. It allowed me to focus on what’s really important: the #slay of his silly little outfits.
Saltburn
I watched this sitting in between my parents. Still loved it. I honestly can’t articulate why I love this film except to say, visually, intellectually, spiritually, conceptually, hornily, I loved it. I have a crush on every single person involved in the making of this film. I want to kiss them all directly on the brain.
Poor Things
I also watched this sitting in between my parents. This was worse. However, Emma Stone was incredible. The sets, costumes, world building and cinematography were similarly inspired. What I can’t get past is that they showed us a woman who had had her unborn child’s brain transplanted into her head and then we were expected to find it attractive when we saw her masturbate and have copious amounts of sex (with the brain, mannerisms and speech of a toddler). It’s important to note that the narrative does not condemn these men for finding her childlike personality attractive. I’m all for celebrating womens’ sexuality and sexual liberation, just maybe not when their vocabulary still includes the words “goo goo” and “gaa gaa.” The second half when her brain matures was great!! I’m just side eyeing the baby sex part.
Trolls
This was not released in cinemas this summer. In fact, it was released in 2016. I just felt it needed to be included in this list. Me and my Dad watched it the day after we saw Poor Things, in an attempt to heal from the trauma. It did not work. In fact it nearly made me delete Letterboxd and swear off movies altogether. I rate this movie negative 5. Do not interact.
Next Goal Wins
So cute! Truly a Taika Watiti film. While it didn’t hit like Boy or Hunt for the Wilderpeople, it more successfully healed the Poor Things trauma than Trolls did (this wasn’t hard).
Dream Scenario
I didn’t expect watching Nicolas Cage cum untouched as a girl takes his belt off during an ill-advised failed affair then farting loudly and running away to be as funny as it was. Say that sentence twice, my GOD. I enjoyed this film. The tram ride home (again with my parents, yikes) was silent but in a vaguely good way?
Bottoms
I wanted to love this movie but just… didn’t. I think it was a me problem? This film was like a cake which had all the right ingredients and followed the correct method but then the oven was a bitch and didn’t like it. I’m the oven.
Anyone But You
Such a cute romcom, truly one of the better of its genre to come out in a while. And may I say, a Shakespeare retelling to rival 10 Things I Hate About You. The lines that came directly from the play made me happy, but it was also equally as enjoyable for people who were unfamiliar with the play. Really fun. I loved that it was set in Australia. Added a certain ‘je ne sais quoi’.
Napoleon
JOKES I did not watch this movie. A 3 hour long, historically inaccurate Ridley Scott film? Not even adding another notch to my Letterboxd bed post could entice me.
Wonka
As soon as the film finished the girl behind me said, “thank GOD that’s over”. I did not agree with her. I thought it had the perfect amount of whimsy and fun. My mother, who is the biggest Timothee Chalamet fan in the world, gives it 5 stars.
Mean Girls
This was… boring and unnecessary. Auliʻi Cravalho as Janice was a standout performance though.
The Holdovers
For all sad nerds, this movie is like Dead Poets Society but if all the characters were cantankerous assholes (affectionate). I was hungry when I arrived at the cinema so I spent a lot of the movie thinking about the sausages they showed in the establishing shot of the kitchen. On the way home (via Coles to buy sausages) I figured out what I thought of the film: it had a beautiful soul. You could tell a lot of heart went into making it, the use of film rather than digital, the editing, the soundtrack, the performances. I forgot I was watching a film made in this millennium and not an actual film from 1970. Super lovely.
Priscilla
Like Mean Girls, this movie was boring and unnecessary. It tried to say something new about Priscilla and Elvis’ combined legacy but failed. It meandered.
All of Us Strangers
This movie made me grin from ear to ear and also clutch my chest like I was dying of heartbreak. It was filmed so beautifully. It looked warm, and felt like a hug goodbye. Every performance was intentional and masterful and the result was truly breathtaking. But for my own mental health, I will never ever rewatch it.
May December
I had a really embarrassing asthma attack in the middle of this movie (ironic since the main character suffers from chronic asthma herself) and had to leave. I never saw the ending and can’t bring myself to stream it and find out. It was well acted but didn’t compel me.
Anatomy of a Fall
Holy shit. When I wasn’t distracted by how beautiful Vincent, played by Swann Aulaud, was (seriously, he is stunning, and what nice hair), I was jaw-open marvelling at what a great film this was. The pacing especially was perfect. It managed to be interesting and compelling as well as thoughtful and picturesque. Highly recommend it.
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Honourable mentions go to two of the ads I had to see at every single one of these screenings:
The confusing Budget Direct ad which featured an evil sentient pool cleaner (?). Stay weird Budget Direct.
The Toyota Hilux ad about a divorced couple refinding their love for one another through sharing joint custody of their car. This ad made me tear up.
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Is there a single thematic takeaway from this experience? Any additional wisdom I have gained by conquering these 15 films? Not really. But it was a fun way to while away the summer.
Comments Off on Woroni Communications Editor Casual Vacancy 2024
Woroni’s Board of Editors is looking to fill a casual vacancy for the new position of Communications Editor for 2024, this position will commence on the 13th of May 2024 and end on the 16th of November 2024.
The Communications Editor is a new position added this year to the Woroni Board, and is responsible for overseeing the organisations public presence and reach. This includes oversight over our social media, photography and events portfolios, managing these teams and the content they produce. It is an exciting opportunity to work with passionate volunteers to create content that matters for the ANU community, made by the community itself. The Communications Editor also sits on the Board and is a Director of the organisation, responsible in part for the overall direction of Woroni.
The successful applicant will be passionate about student media, have experience with team management, be organised and punctual, and be willing to dedicate 15 hours per week to Woroni duties. They do not have to have prior experience with Woroni, but such experience is highly recommended. They must be an ANU student.
The position is not paid, but Editors receive an honorarium for their work.
Applicants must answer the questions below, and if successful, will then go on to be interviewed by a panel of three current Editors. Applications close on the 1st of May.
Woroni is committed to accessible and diverse hiring. If the hiring process can be made more accessible for you or if you feel you have different requirements for any reason, please email woronideputy@gmail.com and we will do our best to accomodate your needs.
If you have any questions, please email woronideputy@gmail.com
Comments Off on Annual General Meeting 2024 Notice
We are pleased to announce that the ANU Student Media Inc. Annual General Meeting (AGM) will be held on Monday the 29th April 2024.
Location: In person TBC and Zoom
Time: 6.30pm
The 2024 ANUSM Annual General Meeting Agenda can be accessed here.
You can access the references from the agenda below once the agenda is posted:
Reference A: 2023 AGM Minutes (Draft)
Reference B: 2023 SGM Minutes (Draft)
Reference C: 2024 Editor-in-Chief’s Annual Report
Reference D: 2024 Managing Editor’s Annual Financial Report
Reference E: 2023 Audited Financial Statement
Reference F: Provisional 2024 Budget
Reference G: Proposed Editor Honoraria Regulations
The Editor-in-Chief and Managing Editor will present their annual reports, the 2023 Audited Financial Statement and the 2024 ANUSM Provisional Annual Budget.
If you are interested in the governance of ANU Student Media, want to get involved next semester and would like to get an update on the progress we have made in the past year, we invite you to come along. We will also be having a discussion on Woroni’s name directly following the AGM. For more information please see the statement made by Editor-in-Chief Matthew Box here.
If you have any accessibility requirements or questions, please email Charlie Crawford, our Deputy Editor-in-Chief, at woronideputy@gmail.com.
Woroni TV is hiring for the second half of Semester 1 2024!
At Woroni we are committed to:
producing interesting, entertaining, informative and regular content across our print, multimedia, radio and online media platforms;
contributing to a sense of university identity and reflecting the scholarly and cultural diversity of the ANU community;
promoting open public dialogue and debate in the ANU community;
promoting awareness of the variety of curricular and extra-curricular activities undertaken by students at ANU;
discovering and developing the creative talents of students at ANU in journalism and the media arts;
promoting the best practice in professional journalism; and
being innovative and exploring new media forms.
A great student media organisation is for everyone. Student media should promote conversations, and provide a platform for people with different views, identities and lived experiences. Our ultimate aim is to build a culture of inclusivity and diversity across our platforms. A large portion of ANU’s students relocate to Canberra to study, which means our community is extremely diverse. Woroni is funded by, created by and consumed by ANU students, and our mission is to produce print, radio and television content that truly reflects this community.
Woroni is committed to diversity in hiring and encourages applications from ANU students of all backgrounds. These are volunteer positions, however individuals may receive an honorarium based on their commitment to the role. If you have questions or concerns, please do not hesitate to contact woronieic@gmail.com. If you would like to contribute to our mission, see below for how you can get involved with student media!
Applications will close at midnight on Friday the 3rd of May 2024. Interviews may be conducted at any time throughout or after the application period.
The TV team at Woroni produces video content ranging from campus life to news reporting. We’re looking for fun, creative, and passionate sub-editors and senior sub-editors to join the team!
Production Assistant:
The Production Assistant role is a versatile, entry-level position crucial to the video content production process within a team. Key duties include developing video concepts, filming with audio and camera equipment, and video editing using Adobe Premiere Pro. This position offers an opportunity for skill development in various media production areas. Although prior experience in media production is advantageous, it is not mandatory. The role is expected to require approx. 8-10 hours of work per week, including compulsory weekly team meetings that you must be available for. This is a volunteer position, with the possibility of honoraria.
Producer:
The TV Producer role is essential for facilitating video production in small teams, focusing on all production stages for quality delivery. This position, which reports directly to the Executive Producer, involves scheduling, creative direction, and collaboration with Production Assistants. Candidates should have basic to intermediate production skills (camera, editing, production). This position is ideal for individuals familiar with media production looking to leverage their creative skills in a team environment. The role is expected to require approx. 8-10 hours of work per week, including compulsory weekly team meetings that you must be available for. This is a volunteer position, with the possibility of honoraria.
Executive Producer:
The Executive Producer role is a leadership position within the video production team, requiring close collaboration with the TV Editor for effective management. Responsibilities include coordinating a production team and contributing to video development, as well as camera operation and video editing, and providing both assistance and troubleshooting in these areas. This position is ideal for someone with experience in film production and managing a team, who is able to manage a more significant time commitment. The role is expected to require approx. 10-15 hours of work per week, including compulsory weekly team meetings that you must be available for. This is a volunteer position, with the possibility of honoraria.
TV-News Producer:
This position plays a crucial role in bridging the TV and News portfolios to produce multimedia style journalistic content. Working closely with the TV-News Executive Producer, this position requires attendance at weekly team meetings across both TV and News. Responsibilities include content development, camera operation, and video editing. This position is ideal for someone with some experience in media production who is passionate about multimedia journalism.The role is expected to require approx. 8-10 hours of work per week, including compulsory weekly team meetings that you must be available for. This is a volunteer position, with the possibility of honoraria.
If anything can be done to make the application process more accessible, please contact woronitveditor@gmail.com.
The Stella Prize longlist was announced March 4, which means twelve new books to add to your “To Be Read” list (actual reading optional, unlikely, and encouraged).
The Stella Prize is the foremost Australian literary award specifically for women and non-binary authors. Founded in 2012, Stella works to place the writing of women and non-binary authors at the forefront of conversation, promoting gender equity within the Australian literary scene and contributing to a ‘vibrant national culture’.
The $60,000 prize is awarded annually to one book deemed ‘original, excellent, and engaging,’ and among the winners (and those long- and short-listed) are some of Australia’s most recognisable literary names. Think Hannah Kent, Michelle De Kretser, Alexis Wright, Melissa Lucashenko, Ellen Van Neerven (ANU’s own 2023 HC Coombs Fellow), Georgia Blain. Last year, the Stella was awarded to Sarah Holland-Batt for The Jaguar, and in 2022 was taken by Evelyn Araluen for Dropbear (which I can vouch for as a brilliant collection, even as someone who mostly associates contemporary poetry with Instagram poetry and therefore actively avoids it, preferring arrogantly to remain ignorant).
The 2024 lineup is a noteworthy one. In a deviation from the past two years, only one poetry collection has been longlisted, and almost all of the titles come from smaller independent publishing houses. In fact, only two — Maggie Mackellar’s Graft (Penguin) and Stephanie Bishop’s The Anniversary (Hachette) — have made it onto the longlist from ‘Big Five’ publishers. The Big Five consists of HarperCollins, Simon & Schuster, Macmillan, Hachette, and Penguin, which tend to collectively dominate the publishing industry. It’s a big year, then, for indie presses and prose writing.
This year proffers some very well-established names — many of whom have previously been listed for (or, in the case of Alexis Wright, won) the Stella — as well as some who are newer to the game. The shortlist will be announced on the 4th of April, and the winner on the 2nd of May.
Praiseworthy by Alexis Wright
Undoubtedly one of the greatest living Australian writers, Alexis Wright’s latest epic novel Praiseworthy seems to be just that — the New York Times calls it ‘the most ambitious and accomplished Australian novel of this century.’ Each of her three other novels — Plains of Promise (1997), Carpentaria (2006) and The Swan Book (2013) — have been similarly received. Carpentaria won the 2007 Miles Franklin, and her ‘unconventional’ (Sydney Morning Herald) memoir Tracker (2017) won the 2018 Stella Prize, which makes Wright the only author to hold both the Miles Franklin and the Stella.
Wright, a Waanyi woman, blends the real, the surreal, and the magical and draws on the rhythms of oral storytelling to create sprawling, sharply intelligent works of profound commentary on ‘contemporary Aboriginal life’ (Giramondo Publishing) and the ongoing nature of colonialism.
Praiseworthy has already taken the 2023 Queensland Literary Award for Fiction, and looks set to be a fierce competitor for the 2024 Stella.
She is the Earth by Ali Cobby Eckermann
Notably the only poetry collection longlisted this year, Ali Cobby Eckermann’s She is the Earth ‘is unlike any other book in Australian literature’ (The Conversation). In 2017, Eckermann won the international Windham-Campbell prize, becoming the second Australian ever to do so.
She is the Earth is a novel-in-verse (however notably lacking a distinct plot and characters) inspired by landscape, natural elements, and ‘the healing power of Country.’ (Magabala Books) It narrates the process of healing and its inherent relationship with the permanence of trauma.
If you’d like to read more about this one, I really enjoyed this article from The Conversation.
Feast by Emily O’Grady
Emily O’Grady’s sophomore novel Feast is already raking in international recognition with a nomination for not only the Stella, but also the Dublin Literary Award. Feast looks at darkness, isolation, secrets and their exposures, familial relationships which are equal parts love and cruelty, and ‘the unmet needs of women’ (The Guardian).
In the Scottish mansion of a retired actress, Alison, and rock star, Patrick, we observe the complicated consequences of the appearance of a nearly-eighteen-year-old daughter and her mother, an ex-partner of Patrick’s.
Feast centres on the women of the family, ‘connected by something far darker and thicker than blood’ (Readings), ‘and what happens when their darkest secrets are hauled into the light’ (Allen & Unwin).
Abandon Every Hope: Essays for the Dead by Hayley Singer
‘Can anyone smell the suffering of souls? Of sadness, of hell on earth? Hell, I imagine, has a smell that bloats into infinity. Has a nasty sting of corpses. What was it Dante wrote?’ (Upswell Publishing)
Hayley Singer teaches creative writing at UniMelb, so perhaps it isn’t surprising that Singer’s debut essay collection is stylistically experimental and steeped in figurative language. Abandon Every Hope ‘map[s] the contours of a world cut to pieces by organised and profitable death’ (Upswell Publishing) — specifically, Singer centres on animal cruelty and the inhumanity of the slaughterhouse industry.
The Hummingbird Effect by Kate Mildenhall
Simultaneously historical, contemporary, and futuristic, The Hummingbird Effect follows four women dispersed through time, connected by ‘the mysterious Hummingbird Project, and the great question of whether the march of progress can ever be reversed’. One working in a meat factory during the Great Depression, another living in a retirement home during COVID, a third some sixty years in the future, and a fourth further still, ‘diving for remnants of a past that must be destroyed’ (Simon & Schuster).
The Hummingbird Effect grapples with climate change, artificial intelligence, and ‘the enduring power of female friendship.’ (The Guardian)
Body Friend by Katherine Brabon
Katherine Brabon’s previous two novels The Memory Artist (2016) and The Shut Ins (2021) have, between them, accumulated a pretty sizeable list of awards and nominations. These past wins include the 2016 The Australian/Vogel’s Literary Award, the 2022 People’s Choice Award at the New South Wales Premier’s Literary Awards, and the 2019 David Harold Tribe Fiction Award.
It’s a shock to no one, then, that Body Friend is up for the Stella. This one looks at chronic pain, female relationships, and the distance between body and self.
‘Body Friend shows that pain can be a friend and a friend can be a mirror, but what they reflect is more than just a mirror image, and contains many possibilities.’ (Sydney Morning Herald)
The Swift Dark Tide by Katia Ariel
‘What happens when, in the middle of a happy heterosexual marriage, a woman falls in love with another woman?’ (Gazebo Books)
One of two memoirs longlisted, Katia Ariel’s The Swift Dark Tide is ‘a diary that doubled as a breathing exercise and tripled as a love letter.’ (Ariel) The Swift Dark Tide chronicles the author’s journey of self-discovery, interlaced with the stories of her husband, mother, and grandparents to create a ‘matrix’ (Ball, Compulsive Reader) of desire, heritage, selfhood, and family.
West Girls by Laura Elizabeth Woollett
West Girls is interested primarily in beauty and race, in a way that feels like a more unhinged, more rooted in physicality, more innately feminine reconstruction of The Secret History’s ‘morbid longing for the picturesque at all costs.’ The female body becomes something at once displaced from and deeply connected to the self. The body is the identity but also belongs to everyone outside of it.
West Girls is interested in the modelling industry, racial inequality, cultural appropriation, the sexualisation of girls’ bodies, and the normalisation of sexual assault.
Our half-white, half-Maltese protagonist Luna Lewis, obsessed with beauty and a modelling career, presents herself as a ‘17-year-old Eurasian beauty, discovered while dismembering an octopus at a southern-suburbs fish-market’ in order to launch her career. This review from The Guardian talks about the act of yellowface in West Girls and looks at the thematic parallels with R.F. Kuang’s novel Yellowface, which was one of the most internationally popular releases of 2023.
Graft: Motherhood, Family and a Year on the Land by Maggie MacKellar
‘To attempt to sum up this book is to do a disservice to the delicate and finely woven lattice of narrative threads that comprise it, like reducing a glimmering spider web to its geometry.’ (Sydney Morning Herald)
A kind of hybridised memoir/nature writing number, Graft is a lyrical, ‘gorgeously written’ (Penguin) account of life spanning one year on a Tasmanian sheep farm. We see birth and death on the farm, interwoven with reflections on childhood and motherhood. Graft is a meditation on mothers, the land and what inhabits it, and home.
Edenglassie by Melissa Lucashenko
Melissa Lucashenko, winner of the 2019 Miles Franklin for her last novel Too Much Lip, is producing a not-insubstantial catalogue of fiction and non-fiction. The bookshop I work at generally has a significant chunk of shelf space occupied by her books (even better, they’re all being released in new, visually cohesive editions, which always makes my heart happy). Lucashenko writes predominantly literary and YA fiction, which are very sought-after in the shop.
Edenglassie ‘slices open Australia’s past and present’ (The Guardian), elucidating the dark, ongoing realities of colonisation by vacillating between and drawing together two narratives set in colonial and contemporary Meanjin country, Brisbane.
Hospital by Sanya Rushdi
Hospital is about psychosis, mental illness in general, and the medical system. A research student is diagnosed with psychosis, and spends the book questioning her diagnosis and the medical system — ‘indeed questioning seems to be at the heart of her psychosis’ (Giramondo). Rushdi approaches time with skilful indifference, ‘braiding past and present’ (Westerly Magazine), and blends reality with ambiguity. The reader is left wondering where her episodes start and end in a state of constant disorientation.
At just 128 pages, Hospital is the shortest novel longlisted. First published in Bangladesh in 2019, it was translated into English and published in Australia for the first time last year.
The Anniversary by Stephanie Bishop
From the author of Man Out of Time (2018), The Singing (2005), and The Other Side of the World (2015) comes The Anniversary, a ‘compulsive, atmospheric’ (Hachette) psychological thriller which looks at gender, power, art, and the craft of writing.
When her filmmaker husband dies falling overboard on a cruise, novelist J.B. Blackwood navigates her past and her suddenly successful present, visiting and revisiting events and ideas with ‘increasing honesty and nuance.’ (New York Times)
To the New York Times, Bishop writes, ‘A lie told well should sound true. The Anniversary is about the lies we tell ourselves when the traumatic facts of our lives become unbearable and we need to twist them into a story we can stomach.’
This year’s lineup has pulled through with banger after absolute banger, and I’m hedging my bets by saying that it’s really, genuinely, anyone’s game. Every last one of these fits the criteria of ‘original, excellent, and engaging.’ If I had to make a guess, though, I can see Melissa Lucashenko’s Edenglassie coming out on top. It’s super relevant and thematically significant, and the way that it is selling and being received makes me think that it especially brings home the ‘engaging’ requirement. But I’ll leave it up to the infinitely more qualified panel of judges to do the judging, and follow along with bated breath.
Editor’s Note: Edenglassie didn’t even make it to the shortlist. Sorry Caelan.