2008 Finley Award Winners
Sun, 18 Jan 2009, 02:45 pmKimberley93 posts in thread
2008 Finley Award Winners
Sun, 18 Jan 2009, 02:45 pmCertificates for Finley awards 2008
For coping with a difficult script - Judith Lauhehr, What Are Little Girls Made Of, Kwinana Theatre Workshop
For Comic timing . Susannah Devenish and Robert Whyte, How the Other Half Loves, Harbour
For impressive and balletic sock removal skills, Gordon Park for
Bedfull of Foreigners Wanneroo Repertory.
Make up certificate for Bobby Chapman, Malita Morrison, Judy Sarcia for Edwin Drood , Roleystone.
Best Staged Accident : Matt Sheehey , “This is Our Youth” , Blak Yak
Most energetic villain performance in a pantomime” Graham Miles for Aladdin, KADS
Most impressive prop on stage this year: the Jolly Roger, Peter Pan, Darlington Theatre Players
For practical lighting co ordination – Gaslight, John Spurling, Old Mill Theatre
For Atmospheric lighting – John Woolrych, “bare” Playlovers
For sound coordination – Dan Mitton and Norm Kirton for Peter Pan , Darlington Theatre Players
Most sensitive and moving characterisation – Chris Bedding, Amigos, Garrick Theatre.
For perfectly timed comedy: the cast of “ How about That” at Garrick Theatre.
Best Actor
Winner: Alex Jones : This is our Youth – Blak Yak Theatre.
Best Actress
Winner: Kristen Berry: Deus Ex Quanta: Blak Yak Theatre.
David Crewes Award for Excellence in Set Design and Construction
Winner: Suddenly at Home: Melville Theatre Company
Best Costumes
Winner: Venetian Twins: Old Mill Theatre.
Best Choreography
Winner: Jess Dun, Bullet Betty Vareska: The Directive of Six: UDS
Best Other than Lead Male:
Winner: Phil Barnett: The Sum of Us: Old Mill Theatre.
Best Other than Lead Female:
Winner: Barbara Reynolds : Amys View KADS
Best Director
Winner: Teresa Felvus: Deckchairs: KTW
Mary Webb Award for Direction of A Musical
Winner: Alex McLennan: Hot Mikado : Wanneroo Rep.
Elizabeth Crewes Award: Old Mill Theatre.
Sheila Buchanan Award: Stage Left Theatre Troupe, Goldfields for innovation and creation of concept.
Brian Maddocks Youth Award: Jono Hopkins, Alive In Wonderland, Stirling Players
Best Musical Direction;
Winner: John McPherson : Bullet Betty Vareska:The Directive of Six UDS
Yvonne Lynch Award for Outstanding Breakthrough Performance:
Winner: Michael Abercrombie: Bullet Betty Vareska: The Directive of Six: UDS
Best Musical theatre Performer:
Winner: Leo Dounsborough: the Mystery of Edwin Drood: Roleystone
Top Ten Plays
Jake’s Women: Old Mill
Much Ado about Nothing: GRADS
Venetian Twins: Old Mill
Butterflies are Free: Marloo
Deckchairs: KTW
Wuthering Heights: Harbour theatre
The sum of Us: Old Mill
This is our Youth . Blak Yak
Dangerous Obsession: Old Mill
How the Other Half Loves: Harbour
Top three Plays in order
1. Deckchairs: KTW
2. The Sum of us: Old Mill Theatre
3. Butterflies are Free: Darlington Theatre Players
Top Five Musicals
Hot Mikado , Wanneroo Rep
The Mystery of Edwin Drood: Roleystone
Fame: Wanneroo Rep
Bare: Playlovers
Bullet Betty Vareska, The Directive of Six: UDS
Top three Musicals in Order
1.Bare: Playlovers
2. Fame: Wanneroo Rep
3. Bullet Betty Vareska, The Directive of Six; UDS
Nice idea Jospehine
Tue, 27 Jan 2009, 02:41 pmI guess the problem is that the ITA have a helluva task getting just 4 people to be adjudicators. Getting additional people to volunteer may prove very difficult.
I still like having a professional as adjudicator for that particular festival for some of the other reasons I've outlined (a chance to skill up potential adjudicators, etc).
I'm not sure what you mean by 'problems' - there certainly isn't any problem with Dramafest that I can see and as regards the Finley awards and the barbs aimed at the adjudicator panel and Kerri in particular it seems clear these came from a few tiny-minded people who haven't learned to play nicely in the adult world. That's the prerogative of those people I guess and that seems to be the only problem. It wouldn't be fixed if we had a panel of entirely different adjudicators - those people would still complain and use words such as 'bias' because they didn't get their own way. That's human nature and we ain't got a cure for it.
Anyway, I digress - I think the use of a professional at Dramafest works well and the revenue raised from the festival more than covers the adjudicator fee.
Given Dramafest has historically operated on a reasonably healthy profit, there is money to kick toward the cost of other ITA ventures such as the Finley awards but I DON'T accept that payment of an adjudicator at Dramafest should be dropped in favour of boosting the bottom-line profit simply to supplement other ITA initiatives such as the Finleys. Let those aspects of the ITA look after themselves because we can't always bank on Dramafest making a profit every year.
If we look at the ITA as a business model, any part of that model that suffers financially (and I'm not suggesting the Finleys do) should be looked at closely and the fees associated with that part of the venture raised to cover costs. That's good financial management.
If there is any part of the ITA finances that I would like to see supplemented by any retained profits made from it's festivals, it would be the administrative side which, with raising of rents and insurance premiums in recent years, is skyrocketing. That would at least mean that any increase in club subscription fees to the ITA could be kept as low as possible. As a former treasurer that's my opinion anyway.
To sum up, I guess I'm of the opinion that if it ain't broke, it don't need fixing.
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