An evening of tassels and tease in the end of year burlesque showcase, by Miss Kitty’s Meow!

Join us at the historic Peacock Theatre for our end of year showcase spectacular! Experience a show of tassels and tease as you catch an exclusive and intimate glimpse at the graduating students of 2022.

With Special Guests
Bella de Jac (Victoria) (Miss Burlesque Australia, Burlesque Hall of Fame)
Grace Cherry
Hera Fox
(Host with the Most) 

Tickets :
Adult $40 (+ BF)
SAC Members $30 (+ BF)
Concession $35 (+ BF)

Limited door sales may be available on the door, pending availability.  
Door Sales $45

Bella de Jac. Photo by Neil “Nez” Kendall.
Grace Cherry. EvokeD Images .

Be careful what you wish for… you might just get it!

Wishes, spells, curses and adventures abound along with marvellous singing, dancing and comedic performances by Musical Theatre Crew‘s entertaining performers aged 13-16 years.

Once upon a time… a witch’s curse condemns a Baker and his Wife to a life without children. They embark on a quest to find the four items that will break the spell – the cow as white as milk, the cape as red as blood, the hair as yellow as corn, and the slipper as pure as gold! Will they succeed? And what happens after ‘happily ever after?’

Into the Woods Jr flips the fairytale world on its head, bringing together favourite characters Cinderella, Jack (and his beanstalk), Little Red Riding Hood, a big bad Wolf, a Witch and more into this fun show, ultimately reminding us to be careful what you wish for – as you just might get it!

Season :
Thursday 27 October – Saturday 5 November 2022

Performances :
Thursday 27 October 2022 @ 7:30pm
Friday 28 October 2022 @ 7:30pm
Saturday 29 October 2022 @ 3:00pm (Matinee) 
Saturday 29 October 2022 @ 7:30pm
Sunday 30 October 2022 @ 11:00am (Matinee) 
Sunday 30 October 2022 @ 3:00pm (Matinee) 
Friday 4 November 2022 @ 7:30pm
Saturday 5 November 2022 @ 3:00pm (Matinee) 
Saturday 5 November 2022 @ 7:30pm

Doors / Ticketing opens 30 minutes prior to performance.
Duration : 70 minutes | No Interval

This show has double and triple casts. Please book the team that has the performer you wish to see on the booking site! Better still come again and see another team! Full cast details online here

Tickets :
Adult $35
Concession (Children, Students, Concession Cards / Seniors Cards) $29
Family (Good for 4) : 2 x Adults & 2 x Kids OR 1 x Adult & 3 x Kids $115

Ensemble Mania presents Line Tracing 2 : music for solo instruments

The ‘Line Tracing’ concerts consist of an unbroken evening of music, featuring several works composed for solo single-line instruments, each of which is followed by a musical response from a guest artist. For this concert we welcome guest artists nipaluna/Hobart based ensemble Silikill, whose pre-recorded soundscapes will transition between the live performances, creating a cohesive unbroken listening experience.  



Michael Finnissy – Tasmania I (2020)
Performed by Alexander Meagher (percussion)

Hellgart Mahler – How Beautiful are Thy Dwelling Places (c.1970s) 
Performed by Damian MacDonald (flute)

Dominic Flynn – Gorge (2021)
Performed by Darcy O’Malley (trumpet)

Máté Szigeti – my heart is not here – kékellő halmok (2022) 
Performed by Thomas McKay (saxophone)

Toru Takemitsu – Air (1995)
Performed by Damian MacDonald (flute)

Michael Finnissy – Tasmania II (2020)
Performed by Alexander Meagher (percussion)

This project was made possible with support from the City of Hobart.

This event is supported by the Commonwealth Government’s Regional Arts Fund
This is a rescheduled event from the performance was to be part of Winter Light in August 2022.

This concert, performed by Ensemble Mania, is the second in the String Quartet # 1 Project (which was launched at Salamanca Arts Centre in August 2021). Hear four composers first String Quartet – some performed for the first time in over 40 years – as part of Winter Light 2022.

Ensemble Mania comprise:
Peter Tanfield | 1st violin
Josh Farner | 2nd violin 
Damien Holloway | viola
James Anderson | ‘cello

This concert program showcases the first string quartets by four Tasmanian composers.

Hellgart Mahler         Icknield (quartet version)
Russell Gilmour        Five Reasons to Stay Home
Don Kay                   String Quartet: Opus Zero
Dominic Flynn          Mill

Saturday 3 September 2022
7:30pm – 9:00pm
Doors at 7:00pm

Whilst the wearing of masks is not mandatory it is recommended in certain situations by Tasmanian Public Health.  Masks will be available upon entering the venue for those patrons who would like one.  

If you’re unwell, it is recommended that you stay at home, and we look forward to welcoming you at Salamanca Arts Centre another time.

About the composers

Hellgart Mahler lives near Devonport, Tasmania, but was born in Vienna. Her father, Hillel Mahler, came from a small village on the Polish-Czechoslovakian border, but his family soon moved to Vienna, then the cultural Mecca of Europe. In his grandfather’s family one older brother became the father of Gustav Mahler (who is Hellgart’s great-uncle), but her musical antecedents go right back to 16th and 17th century Italy, where the Maler family (the H was added later) were brilliant lute makers and players; sought after and vied for by dukes and princes.

Photo: Ingrid Rosenberg

Russell Gilmour was born in 1956 and received his early musical training at Guildford Grammar School, WA. Since graduating from the University of New England in the early 1980s, he has worked as a teacher, lecturer and arts administrator. Gilmour is best known for his short, quirky, humorous compositions (Dark on Bach, 2003) and sometimes melancholic, brooding work (Seven Things I’ll Do Tomorrow, 2005). His musical style has developed from a brief flirtation with neo-romanticism in the 1980s (A Peaceable Kingdom, 1985; Host Of The Air, 1984) to a more direct highly melodic style which the composer describes as ‘the art of post classical drivetime’

Photo: Dominic Flynn

Don Kay

Don Kay’s musical language has its roots in the tradition of Western art music but has been significantly shaped by his experience of Tasmania’s environment and history. Kay identifies Hastings Bay (1986) as the first mature piece that was a direct, conscious response to a specific personal experience of a specific place, acknowledged by the title. Two works, amongst a number important to him for reflecting this influence, are: Tasmania Symphony – the Legend of Moinee for cello and orchestra (1988), and Piano Trio, The Edge of Remoteness (1996).

Photo: Saxon Hornett

Dominic Fynn

Born in Hobart in 1997, Dominic Fynn grew up playing the drums in local bands before shifting focus to composition. Dominic’s music has been performed both locally and overseas, and he has collaborated with the Decibel New Music Ensemble, Hobart Wind Symphony, L’ Ensemble de Musique Contemporaine du Conservatoire de Musique de Rimouski, pianist Michael Kieran Harvey, and the Tasmanian Symphony Orchestra.  In 2021 he received a grant to compose a string quartet inspired by convict folk music, and was selected to be a part of one of Australia’s largest commissioning projects, the ANAM Set. He has studied in Australia with Don Kay, Russell Gilmour, and Maria Grenfell, and in the United Kingdom with Michael Finnissy.


Ensemble Mania was created with the goal to provide a unique listening experience in Tasmania, showcasing music that would otherwise not be heard on the island, while exemplifying the possibilities of a richer, more diverse music scene. This music includes the latest, most exciting composers, to the pillars of Australian modernism and lost masterpieces.

Photo: supplied by the artist

Peter Tanfield
Born in England in 1961, Peter Tanfield started the violin aged four. He studied in Germany, Israel, Switzerland and Holland where his teachers were Igor Ozim, Felix Andrievski, Alberto Lysy, Herman Krebbers and Yehudi Menuhin. As soloist and chamber musician Tanfield has performed throughout Europe, China, Japan, India, Canada, the Middle East, Africa, USA and USSR. He was a prize-winner at The Carl Flesh International Competition, International Mozart Competition and International Bach Competition. He has recorded solo and chamber works for television and radio as well as CD. He has played for Chairman Deng Xiaoping in China and the Sultan of Oman. Tanfield led the Australian String Quartet from 1998 until 2001. As a soloist Tanfield has appeared with many orchestras; the Philharmonia, City of London Sinfonia, Scottish Chamber Orchestra, Southwest German Radio Symphony Orchestra, and the RAI National Symphony Orchestra in Rome. As concertmaster he has worked with the BBC Philharmonic, RAI National Symphony Orchestra, Southwest German Radio Symphony Orchestra, London Sinfonietta, and the Scottish Chamber Orchestra. He has performed with Astor Piazolla, Charlie Watts, Pinchas Zukerman, Yehudi Menuhin, Charles Wuorinen, Arvo Pärt, Graeme Koehne, Gary Carr, Carlo Maria Giulini, Mark Gasser and Itzhak Perlman.

Joshua Farner is from Hobart, Tasmania, and began playing the violin at the age of nine. Following completion of a Bachelor of Engineering with 1st class Honours, he was awarded a University of Tasmania String Scholarship and commenced a Bachelor of Music under the tutelage of Dr. Susan Collins. Josh has performed with the Tasmanian Discovery Orchestra and the Australian International Symphony Orchestra Institute (AISOI), and regularly performs as section leader and concertino player with the Hobart Chamber Orchestra. In 2018 Josh was awarded the D & MV McDonald Scholarship in Music from the University of Tasmania, allowing him to travel to London to study under renowned pedagogues Simon Fischer and David Takeno.

Damien Holloway studied viola in Hobart with Keith Crellin, Simon Oswell and Jan Sedivka, followed by postgraduate studies in Brisbane with Elizabeth Morgan. He played viola with the Queensland Symphony Orchestra, and was a founding member of Camerata of St Johns (Brisbane). He is principal viola of the Hobart Chamber Orchestra, and regularly fosters the performance of new music

James Anderson is currently studying a Master of Teaching at the University of Tasmania, having completed his Bachelor of Music in 2018 studying under Sue-Ellen Paulsen. James has previously performed in the Tasmanian Symphony Orchestra, the Australian Youth Orchestra, the Australian International Symphony Orchestra Institute, the Jan Sedivka Camerata, and the Tasmanian Discovery Orchestra. In 2018 James worked with the ensemble Musik Fabrik in Cologne, while also spending time at the Royal Conservatory of Den Hague in the Netherlands.

Program notes

Mahler | Icknield
The Icknield quartet, and the quintet that followed, were both written for an English group of that name, who, although experts in the playing of early polyphonic music, were inexperienced in atonal music and contemporary rhythms. I tried to write firstly, a very short, straightforward, logical, polyphonic piece of music, avoiding difficulties in rhythmic coordination.

Gilmour | Five Reasons to Stay Home: [ pandemics notwithstanding ]

Kay | String Quartet: Opus Zero
String Quartet: Opus Zero was composed in 1961 during a few years of fairly exclusive use of the 12 tone technique advised and guided by Malcolm Williamson, my private and only teacher of composition, in London from 1959-1964. It was never performed, although my friend, John Cale, then a music student at Goldsmith College and later co-founder of the famous Velvet Underground rock band in New York, couldn’t find a second violinist to make up a quartet to try it out. It is only now being premiered because of the enterprise of Dominic Flynn (assisted by Nathan Meurant) in putting the pencilled score together and typesetting it 59 years later. I very recently subtitled it “Opus Zero” to distinguish it from the six later numbered string quartets starting in 1971. It is in four movements and applied 12-tone serial techniques, although not as strictly as in later works of that London period.

Flynn | Mill
This piece alludes to the fiddle music of Tasmanian convict composer Alexander Laing (1792-1868), specifically three tunes Laing composed while living in Sorell in the 1810s-’20s which exemplified his climbing of the social ladder in the town. This string quartet is an attempt to wrestle with our perception of such historical figures, given the grim history of colonial towns like Sorell. The subtitle ‘Mill’ is not only a reference to one of Laing’s tunes, but is also an apt metaphor of the ways in which the tunes have been processed in order to create the material for this string quartet. The piece has been composed in three movements, though the edges of these have been muddied with material leeching from one movement into the next.

This event is part of Winter Light 2022 and is presented by Salamanca Arts Centre

Friday 12 August
Sadly, this performance has been cancelled. Apologises for any inconvenience.
Risa Ray + Georgia Shine
9.00pm – 9.30pm
In front of the Peacock Theatre

Saturday 13 August 
Risa Ray + Jem Nicholas + Georgia Shine
9.00pm – 9.30pm
In front of the Peacock Theatre

Friday 19 August
Jem Nicholas + Georgia Shine
10.00pm – 10.30pm
Long Gallery

Saturday 20 August
Jem Nicholas + Georgia Shine + Risa Ray
10.00pm – 10.30pm
Long Gallery

Random Acts of Weirdness – where the strange and beautiful meet. 
Short form performances with extreme undertakings. 

Not to be missed.


Photo: supplied by the artist

Georgia Shine

Georgia Shine is a cellist, vocalist, improviser, and multi-disciplinary artist. A University of Queensland graduate in Music Performance (Hons) and an Alexander Technique practitioner and teacher, she is the founder of Moving Connections, which uses live music and improvised dance to build community with therapeutic arts practices. 

Georgia has performed around Australia with the Southern Cross Soloists, the Armilla Quartet, Nessi Gomes and most recently with the Tasmanian folk duo, Yyan and Emily. Her festival appearances include Dark MOFO, Bangalow Music Festival, Beaker St Festival, The Unconformity, Cygnet Folk Festival, Mt Roland Folk Festival and Woodford Folk Festival. Georgia has performed regularly as a solo cellist at MONA for the Ladies’ Lounge, Faro Restaurant and Salon Sunday. 

Being also an improvisational dancer and award-winning visual artist, Georgia is currently working on her own body of performance art that is inspired by the connection between the diversity of the Tasmanian landscape and her own ecology of artistic practices with an Arts Tasmania funded Artist in Residency Program at Cradle Mountain.

Photo: Marie Nosaka

Risa Ray

I’m a dancer from Japan. I have family there and here, and who exist in both worlds. I grew up around Tokyo, the direct opposite of Tasmania. I’ve been Tasmania for over six years and I love here. My connections are varied and contrasting. I’m not a native speaker and still studying English, but I can communicate. Dance is possibly my best way of communicating. It helps me form bridges between my worlds.

Photo: supplied by the artist

Jem Nicholas

Jem Nicholas has worked as an actor in Australia, New Zealand and New York. Jem holds a Bachelor of Performing Arts from Monash University, and has since further her studies at the Susan Batson Studio NY, 16TH Street Actors Studio and The Melbourne Actors Lab. Jem has also trained with Hollywood Director and coach Kim Farrant. Some of her notable theatre credits include playing Carrie in ‘Rules for Living’ (Red Stitch Theatre), Sylvia in ‘You Are the Blood’ (Spinning Plates Co.), various lead roles in ‘Song Contest, Almost Eurovision Experience’ (Glynn Nicholas Group), Vendla in ‘Spring Awakening’ (Monash University), and many more. Jem has also appeared in ABC’s ‘Dr Blake Murder Mysteries,’ directed by Diana Reid, and as Elizabeth in ‘The spirit of the Game’ (Shearwater Entertainment). Jem is an independent play write and physical theatre performer and puppeteer and has received a Green Room Nomination for Best Actress in an Ensemble for her role as Rose in ‘Love, Love, Love’ with Red Stitch. She is currently training in the Alexander Technique in Hobart and will graduate as a teacher in 2014.

An ecological comedy about finding the joy in hopelessness.

This new play, by Australian playwright Gita Bezard, weaves together characters struggling with the destruction of the planet, the pessimists, the fighters and those who see the world through lemon tinted glasses.

Annie is interviewing for apocalypse friends. Storm believes that love will come if you just ask loud enough. Daniel is going to save the world as soon as he gets his blog started, you just wait and see.

It’s hard not to be cynical when the world is on fire.

Presented by O’Grady Drama Hobart‘s 2022 ON CUE Performance Ensemble

Working with theatre producers, Katharine and Chris Hamley, and following superb performances of Colosseum, Duty Free and Prickly Love, O’Grady Drama Hobart‘s 2022 ON CUE Performance Ensemble perform this show as their major annual production. The senior drama students showcase their developing performance skills in a true theatrical environment for this public season of shows at the Peacock Theatre, Salamanca Arts Centre.

The Ensemble have been working collaboratively for the past 6 months to present this show as a display of their dedication, talent and passion for the performing arts. O’Grady Drama hope you’ll join us for this delightful comedy play in support of their fabulous students.

Female that can play 20s to 40s.

The actor will be playing multiple roles aged from early 20s to late 40s.

Sunday 7 August
Peacock Theatre

Please email a headshot, full-length photo and a CV listing your acting experience by 3 August the Performing Arts Program Manager, Lucien Simon

This is a paid opportunity.

Key Dates

  • – Attend two days of the creative development between 8 – 11 August 2022
  • – Attend rehearsals (Monday to Friday, 9am – 5pm) 13 November – 3 December 2022
  • – Attend Production week 5 – 8 December 2022
  • – Attend dress rehearsal, 8 December 2022
  • – Perform at the Peacock Theatre, Salamanca Arts Centre, Hobart on Opening Night (9 December 2022) and for performances on the 10, 11, 15, 16, 17 and 18 December 2022 and a matinee performance on the 10 December 2022.

Be available for re-staging and tour of Jumpcut in 2023.

About Jumpcut

At the beginning of 2022 Chris Mead (Melbourne Theatre Company, Head of theatre at the VCA) and Tasmanian writers, Mathew Cooke, Hera Fox, Stepnanie Jack, Carrie McLean and Andy Vagg, took part in the first stage of development of a new full length play titled Jumpcut (working title).

They are working together to create a full-length play with the underlying theme, ‘Crisis, what crisis?’. Structurally the play is being created by using the Arthur Schnitzler play Reigen/LaRonde (1900) as a structural template. It consists of 10 ‘love’ scenes between pairs of people up and down society’s then class structure. The 10 characters each play in two adjacent scenes, each with two discrete lovers.

Chris has created a play using this format before. In 2001-2 Chris worked with five writers—Ben Ellis, Veronica Gleeson, Nick Marchand, Tommy Murphy and Emma Vuletic—to create 360 positions in a one-night stand for the 2002 Festival of Sydney. The play was incredibly well accepted and fast tracked the careers of the writers involved. The collective quality of the work benefited everyone involved.

About the Director
Chris Mead

This year Chris was appointed the Head of Theatre at the Victorian College of the Arts, prior to this he was the Literary Director of Melbourne Theatre Company. Previous positions have included: inaugural Artistic Director of PlayWriting Australia; Literary Manager, Sydney Theatre Company; Literary Manager, Belvoir; curator, Australian National Playwrights’ Conference; and Festival Director, Interplay, the International Festival for Young Playwrights. Recent directing credits include Ross Mueller’s A Strategic Plan (Griffin 2016), Richard Frankland’s Walking into the Bigness (co-directed by Wayne Blair, Malthouse 2014), Ian Wilding’s Rare Earth (NIDA 2011) and Quack (Griffin 2010), and Damien Millar’s The Modern International Dead (Griffin 2008) which won Best New Play (Sydney Theatre Critics’ Awards) and the WA Premier’s Literary Award. He has a PhD from Sydney University. His Platform Paper on institutional racism and outreach strategies was published in 2008. In the past three years he has worked closely with writers such as Joanna Murray-Smith, David Williamson, Eddie Perfect, Lally Katz, Aidan Fennessy, Brendan Cowell, Hannie Rayson, Tom Holloway, Angela Betzien, Rob Sitch, Santo Cilauro and Tom Gleisner, and Steve Vizard, as well as emerging writers such as S. Shakthidharan, Anchuli Felicia King and Jean Tong.

  • Supporters

    Salamanca Art Centre’s 2022 programs are supported by the Commonwealth Government’s Office of the Arts via the RISE Fund.

This event is presented by Salamanca Arts Centre

This concert program comprises songs, drawing on the enduring literary idea of love in an age of nobility and chivalry. Courtly love was an experience of erotic desire and spiritual attainment combined. It was “a love at once illicit and morally elevating, passionate and disciplined, humiliating and exalting, human and transcendent”. 

Sequenza’s program will include songs of courtly love from the baroque by Couperin, Dowland, Caccini and more.

Quin Thomson | voice
David Malone | lute
Brett Rutherford | viola da gamba
Matt Goddard | percussion 

Together, their passion for making great music, their fascination for ancient instruments and historically informed performance practice, and their drive to innovate, have brought them together to form Sequenza. From its first concert in 2015 Sequenza has showcased the extraordinary repertoire of the Baroque and earlier musical periods, right back to the Middle Ages and fostered the creative development of extraordinary new compositions. 

This concert program was originally to be part of Eclectica Salamanca: a Festival of Music from other Times, other Places, which was supported by the City of Hobart through its Cultural Grants Program and by the Commonwealth Government’s Office of the Arts via the RISE Fund.

The Call of Aurora is a chamber opera, based on Douglas Mawson’s 1911 – 1914 expedition to Antarctica and explores the challenges faced by all those who were stranded on the ice continent for two years, before being returned to Hobart in January 1914.

In December 1911 the SY Aurora departed from Hobart Harbour for Antarctica. Heading this expedition was Douglas Mawson, a geologist, who had previously been to Antarctica with Ernest Shackleton. But on this expedition, despite having been invited to accompany Robert Falcon Scott to attempt to be the first men to reach the South Pole (an invitation that Mawson declined, of course), Mawson chose to lead on his own expedition to undertake scientific exploration on the Antarctic Continent. The SY Aurora arrived at Commonwealth Bay in January 1912, and Mawson and his crew set to work in the remaining summer months to build their huts, and establish their main base and outposts before winter – and the complete darkness that would come with it – arrived.

During that winter of 1912 the men would have busied themselves with the many and necessary preparations for the respective scientific expeditions that each party would embark upon in the late spring of 1912. Their plan was to go out as parties of three or four, leaving base camp in October or November, and to all be back in time for the Aurora’s return in January 1913, when they would board for their trip back to Hobart.

In October 1912 Mawson and his party, which comprised Xavier Mertz and Belgrave Ninnis, along with their team of huskies pulling three sledges containing tents, food, and other provisions, headed out for what they expected to be a 500 miles and three month expedition.

For the first 300 miles or so, thing went well enough, until Ninnis suffered frost bite on one of his fingers, which, in his reluctance to bother Mawson with, ultimately became septic. When eventually Ninnis, so affected by his poisoned finger, became of no use in pulling his weight, Mawson decided to ditch one of the three sledges and some of their provisions, and pack what he believed was necessary onto the two remaining sledges, re-assigning the dogs into two teams. As Xavier Mertz, some way out front of the first sledge (on which Ninnis rode as an incapacitated passenger, and in front of Mawson’s second sledge) realised that they were all perilously close to the soft drift that had only that night before covered what he knew just then to be a crevasse, Mertz raises his hand, as a signal to go no further. But it was already too late.

The first sledge, pulled by the best team of dogs, and carrying the dogs’ food, some of the ‘man food’, many of the provisions – and Belgrave Ninnis – had completely disappeared down a deep crevasse. Going to the edge of the crevasse, Mawson and Mertz could hear the strangling cries of the dangling dogs, but could see nothing, and despite their calls – for almost three hours – heard nothing of Ninnis. They fed their longest rope down the crevasse, but it was too deep. Just like that, they had lost one companion, the best dogs, food and much of their provisions. Mawson had no choice but to turn back for camp, with the last remaining sledge and those dogs, lucky enough not to have fallen to their deaths.

The Call of Aurora begins here.

Music & Libretto by Joe Bugden

Directed by Lucien Simon
Musical Direction by Johanna Bostock
Set Design by Nicole Robson
Lighting Design by Louise Goich

Cast (in order of appearance):

Christopher Bryg as Sidney Jeffryes (the mad wireless operator)
Phillip Joughin
as Douglas Mawson
Nick Monk
as Xavier Mertz
Grace Ovens
as Paquita Delprat (Mawson’s fiancee)
Michael Kregor
as Cecil Madigan
Nathan Males
as The Ghost of Robert Falcon Scott
Zoe Fitzherbert-Smith
as The Spirit of Aurora

Ensemble Members:
Rosemary Holloway ~ flute
Derek Grice
~ clarinet
Damien Holloway
~ viola
James Anderson
~ cello
Jamie Wilson
~ vibraphone

The Call of Aurora is supported by the Commonwealth Government via Festivals Australia and by IMAS, and is presented as part of the 2022 Australian Antarctic Festival

A uniquely eastern expression of ‘Romeo and Juliet’

In 1940’s China, a young playwright comes up against a government censor… 

Referred to by The British Times as “the most advanced comedy in the world today”, ‘Juleo and Romiet’ pushes the boundaries of contemporary theater, articulating a uniquely eastern expression that resembles the themes and structure of ‘Romeo and Juliet’.

“A thought-provoking work showcasing two talented actors!”
– Anywhere Festival Show Award Overall.

Two actors photographed against a green background at a very high angle; their faces are closer to the camera. One actor is dressed in a black suit and is wearing an eye patch. The other actor is dressed in a stripe shift with suspenders, and is wearing glasses; he has a bandage on the side of his head.
Fini Liu & Hanwen Zhang. Juleo and Romiet (2022). Photo Sinya Li
Two actors in theatrical, traditional Chinese costume.
Fini Liu & Hanwen Zhang. Juleo and Romiet (2022). Photo Sinya Li.
Two actors photographed against a green background at a very high angle; their faces are closer to the camera. Both actors are posed dramatically.One actor is dressed in a black suit and is wearing an eye patch. The other actor is dressed in a stripe shift with suspenders, and is wearing glasses; he has a bandage on the side of his head.
Fini Liu & Hanwen Zhang. Juleo and Romiet (2022). Photo Sinya Li.