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The problems that I face in creating work is that each time I start a new project I begin with a new team. Each time I finish a project I have a group of people primed to slip into generating, but I do not have the capacity to harness this.


Current arts companies are established in a way that permanent staff are the administrators (GM, marketing, education, finance, etc) but the artists are contracted to particular projects. Danielle wants to flip this. After 15 years of consistently working in the industry she can see that what is keeping herself and other colleague’s works from progressing as artforms worthy of the world’s stage is the constant rebuilding of artistic relationships.


Her company will eventually have 6 women full time, and 6 girls aged 10-18 who will rehearse Sundays and school holidays. The full ensemble will create 2 projects a year, a major and minor. The ensemble are classically trained vocalists familiar with viewpoints and the suzuki training method (what Danielle employs in the rehearsal room). The major and minor projects will provoke thought and respond to how this group sees the world we live in.


For example, the piece we are currently working on is looking at girls/women walking alone at night – with a reference frame of little red riding hood.


The second stream is for the 18+ members of the ensemble. This is where workshop-based theatre productions that have touring potential are created. Using Danielle’s model for Sydney Children’s Festival “Twinkle” (which had a regional tour and is currently under negotiations with China and NZ for tours in 2016/17), works created will look at meta ideas with young people in specific regions (ie. looking up at the night sky in Condoblin). Often, because of their circumstances, the young people Danielle works with have little practice in dreaming. The work that this ensemble will devise uses everyday objects (such as paper, string and sand) and creates something spectacular, encouraging young people to exercise their imagination and create art in their everyday environments.


To find its feet, this process is forecast to take three years. Danielle is currently investigating permanent rehearsal venues and is particularly interested in renting a Sydney terrace that can also double as a unique performance space.




Beyond the three year plan, Danielle envisions a self-sustainable touring bus and a portable theatre that allows her company to travel around Australia sharing stories and inspiring young people.

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