Guildhouse Fellowship 

South Australian mid-career visual artists, craftspeople and designers are invited to apply for the 2023 Guildhouse Fellowship ­– an annual opportunity valued at more than $50,000.

The fellowship is intended for artists who have developed to the point where they have “a distinct artistic expression, and seek an expansive opportunity to explore, research and create”. Supported by the James & Diana Ramsay Foundation, it is presented annually in partnership with the Art Gallery of South Australia.

Guildhouse says the fellowship includes $35,000 to support research and development, including the creation of new work, and an opportunity to present this work at the gallery.

Previous fellows include Troy-Anthony Baylis and Sera Waters. The 2021 recipient, glass artist Liam Fleming, will present his exhibition, Light and colour, this September, and the most recent fellow, Tom Phillips, is researching and developing new work for presentation in 2024.

Baylis, Waters and Fleming will take part in a free in-conversation event at Guildhouse on July 27 (details here). Applications for the 2023 fellowship (here) close at 9am on August 21.

Calling all budding young actors

There could hardly be a more exciting – or perhaps terrifying – prospect for a budding young performer than taking to the stage in Macbeth.

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State Opera South Australia announced this week that it will be holding an open casting to fill the “pre-teen boy cameo role” of Fleance in its co-production (with West Australian Opera) of Verdi’s operatic adaptation of Shakespeare’s tragedy at Her Majesty’s Theatre in September.

Fleance is the son of Banquo, Macbeth’s friend turned victim,  and appears in two scenes in the opera. The age range for Fleance is 11 to 14, and no singing skills are required; in fact, even acting experience isn’t compulsory. Nonetheless, it is a paid role.

Registrations of interest must be submitted before midnight on July 30 via the State Opera website, where you will also find details of rehearsal requirements.

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Macbeth – described by director Stuart Maunder as “Braveheart meets Game of Thrones” – is being presented from September 7-16 with a cast of 40, alongside the Adelaide Symphony Orchestra.

Changing places and faces

More changes are afoot at Windmill, with producer Ross McHenry taking over as executive director of Windmill Theatre Company while Kaye Weeks transitions to a new part-time role as ED of Windmill Pictures.

McHenry, who has been with the company since 2016, will work closely with incoming artistic director Clare Watson in his new role. Watson is herself taking over from long-time Windmill Theatre Company artistic director Rosemary Myers, who it was announced last year is moving to a new full-time role as AD of Windmill Pictures.

Weeks has led Windmill for the past seven years, and says moving into screen producing was an unexpected career twist ­– “but it’s a joy to see our work translate into a beautiful, furry, three-dimensional, puppeted television series that kids all over the world can watch”.

Windmill board chair Richard Harris says both Windmill Theatre Company and Windmill Pictures have thrived under Weeks’ leadership: “With exciting developments across both companies, this new leadership structure will enable us to continue to push the envelope and tell our original Australian stories across stage and screen.”

Fringe funds

If you’re an artist, producer or venue keen to present a show at next year’s Adelaide Fringe but need some help to make it happen, applications opened this week for grants of up to $10,000.

“We encourage new or emerging and diverse participants to apply for grants,” says Fringe CEO and director Heather Croall. “Cultivating fresh talent and ideas in the incubator of Adelaide Fringe is part of what keeps this festival world-class.”

The Adelaide Fringe Fund offers “Up+Running” grants (capped at $5000) to help get projects off the ground, and “Level-Up” grants (capped at $10,000) to support the staging of “bold and ambitious Adelaide Fringe premiere events” that have already developed beyond the initial stages. Grants are available under the categories of Regional Touring, Artists, SA Producers, Audience Access, and Venues, with dedicated grants for First Nations projects.

Applications (details here) close on August 23.

Bound for Malaysia

SA-based multi-disciplinary artist Alyssa Powell-Ascura is set to spend three months at the Rimbun Dahan private arts centre Malaysia after being announced as the 2023 recipient of the Delima Residency.

The residency – offered as part of The Mill’s Sponsored Studio program, with cooperation from the Mahmood Martin Foundation – will take place from September to October.

Powell-Ascura works across a range of media including writing, conceptual art, immersive installation, and traditional and mixed digital media, and says her background growing up on Bundjalung Country in a Filipino-Italian-Australian household has given her “an interesting, layered perspective on the world”.

After her return, she will undertake a three-month residency at The Mill and present a solo exhibition in The Mill Showcase in mid-2024.

Nunga anthology

Submissions are being sought from new and established Aboriginal and Torres Strait Islander storytellers for a new anthology to be published by Wakefield Press.

The as-yet-untitled anthology is being co-edited by Dominic Guerra (a Ngarrindjeri and Kaurna poet and writer) and Karen Wyld (an SA-based author of Martu descent), who welcome submissions of poetry (up to two pages), micro fiction (less than 1000 words), short stories (1000–4000 words), and graphic stories (up to two pages). The pair also offer support to new writers to polish their work.

Further details can be found on the Wakefield Press website, with submissions open until September 4.

Green Room is a regular column for InReview, providing quick news for people interested, or involved, in South Australian arts and culture.

Get in touch by emailing us at editorial@solsticemedia.com.au