image of person or book cover 1764465424871627694.jpg
This image has been sourced from online.
Once Upon a Midnight single work   musical theatre   humour   young adult   horror  
Issue Details: First known date: 2008... 2008 Once Upon a Midnight
The material on this page is available to AustLit subscribers. If you are a subscriber or are from a subscribing organisation, please log in to gain full access. To explore options for subscribing to this unique teaching, research, and publishing resource for Australian culture and storytelling, please contact us or find out more.

AbstractHistoryArchive Description

'Featuring a team of emerging Japanese and Australian actors, "Once Upon A Midnight" taps into a global youth culture of fantasy, horror and adventure. Join Kelsey Clarke and her brother Ryan as they unwittingly enter a bilingual, parallel underworld, where werewolves, vampires, vultures, tengu and ningyo make suitable travelling companions, but fairies show no mercy! Will Kelsey Clarke conquer the night? Or will she die of fright?' Source: www.adelaidefestivalcentre.com.au/ (Sighted 09/01/2009).

"Combines the imagination of anime with dry and subversive Australian humour this [...] rock musical will take you on a journey to the dark side." (AusStage)

Notes

  • A bilingual, cross cultural rock musical.

Affiliation Notes

  • This work is affiliated with the AustLit subset Asian-Australian Children's Literature and Publishing because it has references to Japan.

Production Details

  • Premiered a the Kijimuna Festival in Okinawa, Japan in July 2008. Australian premier presented by Adelaide Festival Centre's OzAsia Festival, Kijimuna Festival & Flinders University Drama Centre at the Dunstan Playhouse, Space Theare, 23 - 25 September, 2008. Director: Catherine Fitzgerald.

Publication Details of Only Known VersionEarliest 2 Known Versions of

First known date: 2008
VIEW PUBLICATION DETAILS FOR ALL VERSIONS ()

Works about this Work

Dramaturgy of Mobility : Towards Crossover and Fusion in Out of the Ordinary Maggie Ivanova , Alex Vickery-Howe , 2017 single work criticism
— Appears in: Australasian Drama Studies , April no. 70 2017; (p. 159-186) 'This article examines the implications that the new cultural competencies and literacies associated with participatory and popular cultures might hold for dramaturgy in terms of characterisation, creating a sense of space-time, and the artist's role in society. Our analysis focuses on Alex Vickery-Howe's new Australian play Out of the Ordinary (2016), situating it in the context of his earlier explorations of alternative dramaturgies, Once Upon a Midnight (2008) and Molly's Shoes (2011). Drawing structurally on the ways crossover and fusion have developed new cultural expression and reached new audiences in music and film, we investigate the creative potential that comics, manga, anime and related fan cultures might hold for dramaturgy. Our goal is to explore the thinking that underlies crossover and fusion as artistic practices requiring a kind of creative bilingualism - in our case, a mastery of the cultural competencies and literacies associated with cross- and multi-modal creative expression. We suggest that such creative bilingualism has been a continuing element in culture since the rise of melodrama, reminding us that expressive turns towards mystery, magic, intense spiritual experiences, etc, could, in fact, underscore social engagement. (Publication abstract)
Untitled Samantha Ryan , 2008 single work review
— Appears in: Lowdown , December vol. 30 no. 6 2008; (p. 42)
— Review of Once Upon a Midnight Alex Vickery-Howe , 2008 single work musical theatre
Once Upon a Midnight Ursula Beaumont , 2008 single work review
— Appears in: Lowdown , October vol. 30 no. 5 2008; (p. 6-7)
— Review of Once Upon a Midnight Alex Vickery-Howe , 2008 single work musical theatre
Mythology of Two Cultures Tim Lloyd , 2008 single work review
— Appears in: The Advertsier , 13 September 2008; (p. 8)
— Review of Once Upon a Midnight Alex Vickery-Howe , 2008 single work musical theatre
On the Edge of Fear Patrick McDonald , 2008 single work review
— Appears in: The Advertiser , 26 September 2008; (p. 80)
— Review of Once Upon a Midnight Alex Vickery-Howe , 2008 single work musical theatre
On the Edge of Fear Patrick McDonald , 2008 single work review
— Appears in: The Advertiser , 26 September 2008; (p. 80)
— Review of Once Upon a Midnight Alex Vickery-Howe , 2008 single work musical theatre
Mythology of Two Cultures Tim Lloyd , 2008 single work review
— Appears in: The Advertsier , 13 September 2008; (p. 8)
— Review of Once Upon a Midnight Alex Vickery-Howe , 2008 single work musical theatre
Once Upon a Midnight Ursula Beaumont , 2008 single work review
— Appears in: Lowdown , October vol. 30 no. 5 2008; (p. 6-7)
— Review of Once Upon a Midnight Alex Vickery-Howe , 2008 single work musical theatre
Untitled Samantha Ryan , 2008 single work review
— Appears in: Lowdown , December vol. 30 no. 6 2008; (p. 42)
— Review of Once Upon a Midnight Alex Vickery-Howe , 2008 single work musical theatre
Dramaturgy of Mobility : Towards Crossover and Fusion in Out of the Ordinary Maggie Ivanova , Alex Vickery-Howe , 2017 single work criticism
— Appears in: Australasian Drama Studies , April no. 70 2017; (p. 159-186) 'This article examines the implications that the new cultural competencies and literacies associated with participatory and popular cultures might hold for dramaturgy in terms of characterisation, creating a sense of space-time, and the artist's role in society. Our analysis focuses on Alex Vickery-Howe's new Australian play Out of the Ordinary (2016), situating it in the context of his earlier explorations of alternative dramaturgies, Once Upon a Midnight (2008) and Molly's Shoes (2011). Drawing structurally on the ways crossover and fusion have developed new cultural expression and reached new audiences in music and film, we investigate the creative potential that comics, manga, anime and related fan cultures might hold for dramaturgy. Our goal is to explore the thinking that underlies crossover and fusion as artistic practices requiring a kind of creative bilingualism - in our case, a mastery of the cultural competencies and literacies associated with cross- and multi-modal creative expression. We suggest that such creative bilingualism has been a continuing element in culture since the rise of melodrama, reminding us that expressive turns towards mystery, magic, intense spiritual experiences, etc, could, in fact, underscore social engagement. (Publication abstract)
VIEW ALL WORKS ABOUT (5)
Last amended 30 Nov 2022 16:00:17
Subjects:
  • c
    Japan,
    c
    East Asia, South and East Asia, Asia,
Newspapers:
    Powered by Trove
    X