Skip to main content

Article: Deborah Conway Returns to QLD // QPAC


Australian music icon, Deborah Conway AM returns to Queensland Performing Arts Centre (QPAC) this April, in Songs from the Book of Life, a unique theatrical experience together with her partner and collaborator, Willy Zygier, based on her recently released memoir Book of Life.

Songs from the Book of Life sees Conway and Zygier explore their four-decade-long musical careers, charting a course through the pair’s own stories of youth, rebellion, falling in love, ageing, money, and music – revealing behind the scenes details about one of the most powerful women to rock the Australian music industry. As part of a national tour, including sold-out Sydney Festival performances, Songs from the Book of Life comes to QPAC’s Cremorne Theatre for two nights only on 12 and 13 April 2024.

Songs from the Book of Life has been hailed as a tour-de-force, told with unflinching honesty, and humour and an expression of the irrepressible desire to ‘let it all hang out”.  Featuring original music and theatrical storytelling, this masterwork is directed by Michael Kantor and choreographed by Stephanie Lake, with set design by Chloe Greaves, video design by Nick Roux, lighting design by Stephen Hawker and sound engineering by Siiri Metsar.

Conway explained that Songs from the Book of Life is a distillation of her memoir, rendered as a theatrical, musical piece of storytelling, utilising movement, lighting and sets to convey a life story.  “We have constructed what we hope is an entertaining, revealing evening of theatre for our audiences. The many who have seen it already have responded with laughter, tears and standing ovations,” she said. 

“We love performing to audiences in the Sunshine State and cannot wait to bring this show for the first time to the Cremorne Theatre later this year. “QPAC has been a significant supporter across my career, and we are delighted to be back inside its hallowed spaces.”  QPAC Chief Executive, John Kotzas said it was always a pleasure to welcome back the formidable Conway and Zygier. We’ve presented these popular and talented artists many times over the years, with their last performance at QPAC in 2019.  We know that Queensland audiences will be thrilled at the opportunity to delve into this powerhouse music duo’s life and career in this acclaimed show,” said Mr Kotzas. 

Conway and Zygier’s concerts at QPAC include the sold-out 25 h Anniversary tour of String of Pearls in 2016, coinciding with the release of their album Everybody’s Begging and the EPIC tour in 2019 celebrating the 25 th anniversary of Bitch Epic and launch of the pair’s tenth album, The Words of Men. Conway has also featured in many festival events and touring shows at QPAC including WOW (Women of the World) Australia, Queensland Musical Festival, Broad and the 2021 Apia Good Times Tour.

Don’t miss tickets to this intimate and captivating show featuring two Australian music legends for two nights only on 12 and 13 April. Tickets at qpac.com.au or phone 136 246.

Comments

Popular posts from this blog

Article: The Empire Young Artist showcase original production

The Empire’s youngest artists have kicked off rehearsals for their original production, Our Egg Named Larry to be performed from July 12-13. Now in its 14th year, the audition-based elite performance program IMPACT sees a Junior Ensemble cast of eight aged 13-14, dive into the funny, heartwarming and at times ridiculous story of a group of students who are assigned to a project to keep a fragile egg named Larry in one piece. An original theatre piece, Our Egg named Larry was written by The Empire Youth Arts Lead Grace Sankey and co-writer Sheldon Mcloughlin, with ensemble members to contribute to the script writing process, drawing on discoveries they make about their own characters as rehearsals continue. “This year’s Junior Ensemble has a mixture of experience levels with some members who have done this program before and some who will be going on stage for the very first time,” Miss Sankey said. “I am so grateful to be in the rehearsal room with these amazing young people, creating ...

Review: Hair - Gold Coast Little Theatre

 Written by Mark Rickell   “Back in the late 1960s, the artists of off-Broadway and off-off-Broadway had been complaining that the professional theatre was dead, and even worse, that it was boring. Hair was the revolution they had been waiting for. With very little plot, a unit set, plenty of four-letter words, explicit sexual content, rituals, drugs, lyrics that didn’t rhyme, music that didn’t follow the rules, and the sound of genuine rock and roll on the Broadway stage for the first time, this musical knocked Broadway on its collective ass.” - Scott Miller, Rebels with Applause: Broadway's Ground-Breaking Musicals   Gold Coast Little Theatre has faithfully continued the tradition of knocking theatre on its ass. With themes and topics that remain just as relevant today as they did in 1967 at the show’s original release, GCLT has absolutely smashed this Broadway classic. At a time when theatres across South East Queensland seem to be falling back o...

Review: Scenes From a Yellow Perril - The Reaction Theory & Queensland Theatre Door 3

Written by Grace Wilson The best kind of theatre is theatre that makes people question, reflect and consider how uncomfortable questions encourage people to act and change. There are not many theatre pieces out there that can make an audience consider whether to laugh or cringe, smile or grimace. However, The Reaction Theory’s ‘Scenes From a Yellow Peril’, as a part of Queensland Theatre’s Door 3 program, masterfully manipulates the uncomfortable with the comedic, the angry with the heartfelt, and asks the audience if uncomfortable questions are worth the discoveries that come with them. ‘Scenes From A Yellow Peril’ by Chinese-New Zealand writer and poet, Nathan Joe, can truly be described as poetry on stage, a turbulent experience of communication and heightened emotions. The audience is exposed to complexities and challenges of BIPOC communities across the world in a way that does not fit the traditional theatre mould. There is no way to predict what Joe writes next; each scene chops...