The Nest Ensemble
www.thenestensemble.com
Multi-award-winning theatre company devising new and inspirational works since 2004
He Dreamed A Train
Brisbane Powerhouse, QLD (2014, 2017)
Theatre of the Oppressed Conference, USA (2014)
Written and Performed by Margi Brown Ash
Directed/co-produced by Benjamin Knapton with Travis Ash, musician/performer/co-writer
Winner: SWEET Program, Brisbane Powerhouse
Nominated: Silver Matilda Award for Best Technical Design
Eve
Metro Arts, QLD (2012)
The Blue Room, WA (2012)
Brisbane Powerhouse, QLD (2017)
Written and performed by Margi Brown Ash
Directed by Leah Mercer
Winner: Blue Room Awards: Best Performance
Winner: Blue Room Awards: Best Production (Members’ Choice)
Home
Metro Arts, QLD (2011)
La Boite Theatre Company, QLD (2012)
Queensland Theatre Company, QLD (2015)
Co-produced, written and performed by Margi Brown Ash
Directed by Leah Mercer with Travis Ash, musician/performer/co-writer
Winner: Gold Matilda Award (for Margi Brown Ash’s Body of Work)
Joey the Mechanical Boy
The Blue Room Theatre, WA (2014)
Co-written and performed by Margi Brown Ash
Directed and co-written by Leah Mercer
Winner: Best Director Equity Award
Nominated: Best Play Equity Award
The Knowing of Mary Poppins
Brisbane Powerhouse, QLD (2006)
Adelaide Fringe, SA (2008)
Darlinghurst Theatre, NSW (2009)
The Nest Ensemble Charter
We work as a collaborative ensemble.
We embrace a postmodern collaborative framework we call Impulse Training which addresses constructs such as the multiplicity of stories and selves, power, social and cultural discourses and the exquisite use of language. This is our approach to ‘thickening’ the space between the actors on the floor, rather than focusing on psychological perspectives, which is often the focus of modernist acting training.
Our actor training is about training the impulse in order to be fully present and fully alive to the multiplicity of living and performing.
We make the implicit explicit.
We embrace transparency.
We avoid power hierarchies within the rehearsal room where possible.
We devise work using collaged text, visual art, poetry and original musical scores.
We encourage each artist to bring all of themselves into the rehearsal room, in contrast to the more traditional practice of ‘leaving it at the door’.
We desire the actor to be fully present at all times; therefore it does not make sense to split an actor’s private and professional lives.