MEOW MEOW’S
THE RED SHOES

Meow Meow

Post-post-modern diva Meow Meow has hypnotised, inspired, and terrified audiences globally with unique creations and sell-out seasons from New York’s Carnegie Hall and Lincoln Center and Berlin’s Bar Jeder Vernunft to London’s West End and the Sydney Opera House. Named one of the “Top Performers of the Year” by The New Yorker, the spectacular crowd-surfing artist has been called “sensational” (The Times, UK), a “diva of the highest order” (New York Post), “The Queen of Chanson” (Berliner Zeitung), and “a phenomenon” by the Australian press. Her award-winning works have been curated by David Bowie, Pina Bausch, Mikhail Baryshnikov and numerous international arts festivals.

Kate Champion

Kate Champion is the Artistic Director of Black Swan State Theatre Company where her critically acclaimed productions include Prima Facie (Carriageworks and State Theatre Centre of WA), Never Have I Ever, The Pool, Dirty Birds and Things I Know to Be True. Kate has decades of experience working across theatre, dance-theatre, opera, musical theatre, film, and circus—spanning genres from devised original work and new Australian plays to classics, comedy, multi-artform productions, interactive and physical theatre.

Kate was the founding Artistic Director of Force Majeure, an influential dance-theatre company based in Sydney. During her tenure, she premiered five original mainstage works for major festivals and toured regionally, nationally, and internationally. Several of Force Majeure’s productions received multiple Helpmann and Australian Dance Awards. She had a 26-year career as a performer and dancer with companies both nationally and internationally, and created two acclaimed solo shows. 

Meow Meow

Post-post-modern diva Meow Meow has hypnotised, inspired, and terrified audiences globally with unique creations and sell-out seasons from New York’s Carnegie Hall and Lincoln Center and Berlin’s Bar Jeder Vernunft to London’s West End and the Sydney Opera House. Named one of the “Top Performers of the Year” by The New Yorker, the spectacular crowd-surfing artist has been called “sensational” (The Times, UK), a “diva of the highest order” (New York Post), “The Queen of Chanson” (Berliner Zeitung), and “a phenomenon” by the Australian press. Her award-winning works have been curated by David Bowie, Pina Bausch, Mikhail Baryshnikov and numerous international arts festivals.

Kanen Breen

Kanen is one of Australia’s most sought-after operatic tenors and a renowned concert and cabaret artist.

He is long established as a contracted artist at Opera Australia singing such roles as Camille in The Merry Widow, Nanki Poo in The Mikado, Ralph Rackstrawin HMS Pinafore, Marco Palmieri in The Gondoliers, Caius in Falstaff, Alfred in Die Fledermaus, Monostatos in The Magic Flute,  Sellem in The Rakes Progress, Pong in Turandot, Andres/Cochenille/Pittichinaccio/Frantz/Nathanael in The Tales Of Hoffmann,  Pirelliin Sweeney Todd, Albert Herring, Polonius in Hamlet, Johnny in Bliss at the Edinburgh Festival and The Scientist in The Rabbits at the Perth, Melbourne and Sydney festivals.

Appearances for Victorian Opera include the roles of Tweedledee, The White King and Violet in Through The Looking Glass, The Beadle in Sweeney Todd, the premiere seasons of Banquet Of Secrets and ‘Tis Pity and Uncle Ernie in The Who’s Tommy, and for Opera Queensland, Nanki Poo, Nadir in The Pearlfishers, Ramiro in Cenerentola, and Andy Warhol in The Perfect American.  For Pinchgut Opera his appearances include the title role in Platée,  Erice in L’Ormindo, and roles in  L’incoronazione Di Poppea and Il Ritorno Di Ulisse In Patria.

Other roles include Rodolfo in Baz Luhrman’s La Boheme on Broadway, Willy Wonka in the Gordon Frost Organisation’s production of Charlie & The Chocolate Factory, Roy in the Sydney Festival production of Siegfried & Roy – The Unauthorised Opera and the Witch Of Endor in the Glyndebourne Festival Opera production of Handel’s Saul for which he won a Helpmann Award for Best Male Performer in a Supporting Role in an Opera.

Mark Jones

Mark Jones has worked extensively as a performer, composer, arranger and musical director in theatre and cabaret.

His theatre credits include: Apocalypse Meow: Crisis Is Born; A Golem Story; Elizabeth; Almost by Chance a Woman; Goodbye Vaudeville Charlie Mudd (Malthouse Theatre); Jacques Brel is Alive and Well and Living in Paris (Anthill); Cautionary Tales for Children (Arena Theatre Company); The School for Wives (Bell Shakespeare); I Love You, You’re Perfect, Now Change (Cygnet/EHJ Productions); Divas (Duet Productions); Eurobeat (Glynn Nicholas Group) and Good Evening (Token Events).

Cabaret credits include: THE BEAUTIFUL LOSERS; Three Weill Men; Cyrens; Suburban Gothic; Everybody’s Got Something to Hide (Except For Me and My Monkey); The Suicide Show; The Divine Cabaret; What’s New Pussycat? and The Phones.

His awards include: Two Green Room Awards for Theatre including Male Performer and Composition (Goodbye Vaudeville Charlie Mudd) and eight Green Room Awards for Cabaret including Best Cabaret (Jacques Brel is Alive and Wel…); Best Musical Director (Cyrens and Three Weill Men); Best Ensemble (The Beautiful Losers and Me and Mr Jones) and the Contribution to Cabaret Award in 2018.

Dan Witton

Dan Witton has worked as an actor, physical performer, musician, composer, sound producer and vocalist in theatre, dance, performance art and screen media. He is based in Naarm, Melbourne Australia

With Meow Meow he has performed Sequins and Satire, Divas and Disruptors: The Wild Women of the Weimar Republic Carnegie Hall, Apocalypse Meow: A Crisis is Born (BAM, Malthouse), Pandemonium with Sydney Symphony, Melbourne Symphony, WASO (Perth), Seattle Symphony, New Zealand Symphony, and Vancouver Symphony as well as appearances at The Adelaide Cabaret Festival, Perth Cabaret Festival, Sydney Festival and the production of Souvenir in Hobart and Adelaide.

Other companies productions and commissions include Artplay (Sonic Labyrinth, Baby Whispering), Melbourne Recital Centre (Urchin) Still Awake Still (New Victory Theatre, US and Australian tours), Malthouse Theatre (Woyzek, Mary Maclean), Opera Australia (The Rabbits, Boris Godonov), Circus Oz, ABC & SBS Television, Belvoir St Theatre (HATE, Etcetera),  Strange Fruit (Sydney Festival, Shizuoka Festival), Not Yet It’s Difficult (Hanover World Expo), Blue Grassy Knoll (Galway Festival, Edinburgh Fringe, Capetown SA), Magpie Theatre (Verona, Bogota, ), The Ennio Morricone Experience (UK, Sydney Opera House, Arts House Melbourne), Chamber Made Opera (Phobia),  Bush Gothic (Jodhpur RIFF, Womadelaide, UK, Australia, NZ),  desoxy Theatre (Sydney Festival, PICA, Adelaide Festival, Tokyo, Venezuela, UK, Belgium, Austria, Netherlands, Spain).

Jethro Woodward

Jethro Woodward is a Melbourne-based composer, musical director, arranger, musician, and sound designer recognised for his expansive and highly layered film, theatre and dance scores. 

A multi–Green Room Award winner and Helpmann nominee, he has worked with some of Australia’s leading major and independent companies including Belvoir St Theatre, Malthouse Theatre, Melbourne Theatre Company, Sydney Theatre Company, Melbourne Symphony Orchestra, Victorian Opera, Chamber Made Opera, Back to Back Theatre, Chunky Move, Lucy Guerin, Australian Dance Theatre, Aphids, Stuck Pigs Squealing, Rawcus, KAGE and more.

A composition graduate from the Victorian College of the Arts, Jethro draws upon his detailed understanding of contemporary music and its uses in live performance, including innovative uses of technology, combining live instrumentation with prerecorded, electronic, musical and sound elements into a seamless flexible and responsive score.

Jethro regularly tours his work internationally and has won Green Room Awards for his work on; The Bloody Chamber (Malthouse Theatre), Moth (Malthouse Theatre / Arena Theatre), Goodbye Vaudeville Charlie Mudd (Malthouse Theatre / Arena Theatre) and Irony Is Not Enough (Fragment 31). As a guitarist and singer he regularly performs with Meow Meow, and has been a member of the band Cordarzine over the past 15 years.

Jethro is alos a lecturer in Design & Production (Sound) Melbourne University.

Jethro Woodward

Jethro Woodward is a Melbourne-based composer, musical director, arranger, musician, and sound designer recognised for his expansive and highly layered film, theatre and dance scores. 

A multi–Green Room Award winner and Helpmann nominee, he has worked with some of Australia’s leading major and independent companies including Belvoir St Theatre, Malthouse Theatre, Melbourne Theatre Company, Sydney Theatre Company, Melbourne Symphony Orchestra, Victorian Opera, Chamber Made Opera, Back to Back Theatre, Chunky Move, Lucy Guerin, Australian Dance Theatre, Aphids, Stuck Pigs Squealing, Rawcus, KAGE and more.

A composition graduate from the Victorian College of the Arts, Jethro draws upon his detailed understanding of contemporary music and its uses in live performance, including innovative uses of technology, combining live instrumentation with prerecorded, electronic, musical and sound elements into a seamless flexible and responsive score.

Jethro regularly tours his work internationally and has won Green Room Awards for his work on; The Bloody Chamber (Malthouse Theatre), Moth (Malthouse Theatre / Arena Theatre), Goodbye Vaudeville Charlie Mudd (Malthouse Theatre / Arena Theatre) and Irony Is Not Enough (Fragment 31). As a guitarist and singer he regularly performs with Meow Meow, and has been a member of the band Cordarzine over the past 15 years.

Jethro is alos a lecturer in Design & Production (Sound) Melbourne University.

Dann Barber

Dann Barber (he/him) is a multi-award-winning set & costume designer whose work is influenced by his study of drawing and fine art at the Royal Institute of Technology (RMIT). He is also a graduate of the National Institute of the Dramatic Arts (NIDA).

Recent set & costume design credits include Troy, Macbeth (an undoing) (Malthouse Theatre) and Yentl (Malthouse Theatre/Kadimah Yiddish Theatre) Blak in the Room (ILBIJERRI Theatre Company/Melbourne Theatre Company); Rent (LPD Productions/Opera Australia); World Problems (Melbourne Theatre Company); Far Away (Patalog Theatre Company); Wittenoom, The Amateurs and Escaped Alone (Red Stitch Actors’ Theatre); Rhinoceros and The Crocodile (Spinning Plates Co.); Chess (StoreyBoard Entertainment) and Candide (Victorian Opera/Opera Australia). Set design credits include Bloom (Melbourne Theatre Company/Sydney Theatre Company) and Cheryomushki (Victorian Opera). Costume design credits include A Very Jewish Christmas Carol (Melbourne Theatre Company).

Dann has won six Green Room Awards for his designs, with a further seven nominations across Cabaret, Opera, Mainstage, and Independent Theatre. Sydney Theatre Award for Costume Design, and a nomination for Set Design (Yentl).  

Rachel Burke

Rachel Burke has an extensive and critically acclaimed body of work over more than three decades for main stage companies, independent theatre, and architectural lighting design both nationally and internationally.

Select credits include Random, The Man from Mukinupin and Parramatta Girls (Belvoir); Yentl (Malthouse Theatre/Kadimah Yiddish Theatre); Walking Into The Bigness, Porn Cake, Cargo, Woman Bomb (Malthouse Theatre); Moth (Malthouse Theatre/Arena Theatre Company); Black Medea (Malthouse Theatre/Belvoir); Cinderella, Swan Lake/Baynes, Ballet Imperial and Dark Lullaby (The Australian Ballet); My Sister Jill, Sexual Misconduct of the Middle Classes, The House of Bernada Alba, Constellations, Cock, Solomon and Marion and True West (Melbourne Theatre Company); Wittenoom, The Amateurs, Iphigenia In Splott, Escaped Alone and Splendour (Red Stitch Actors’ Theatre); The Father, Nightfall and Black Medea (Sydney Theatre Company); and The Visitors (Victorian Opera).

Rachel has received ten Green Room Awards for Outstanding Lighting Design; IES Victorian and National Awards of Excellence for Architectural Lighting Design in 2005, 2010 and 2019 and two Helpmann Award nominations.

Rachel is a graduate of Victoria University, Rusden and Associate IESANZ 2011-current. She is a casual lecturer in Performance Design at University of Melbourne, Senior Associate with Relume Consulting Architectural Lighting, guest speaker and published writer in lighting design. Rachel was the lighting designer for the whole of site Arts Centre Melbourne Exterior Masterplan 2007 and is currently part of the project control group for the new Headland Theatre in Tathra, NSW.

Sophia Morgan

Sophia Morgan is a graduate of the Western Australian Academy of Performing Arts (WAAPA), with a Bachelor of Arts in Stage Management. Sophia most recently was the Deputy Stage Manager on The Talented Mr. Ripley for Sydney Theatre Company. In 2024, Sophia was the Stage Manager Swing for STC, working on over a dozen productions in a variety of roles. She also recently was the Stage Manager for Logue Lake at the 2024 Perth Festival, winning Best Mainstage Production at the 2025 Performing Arts WA Awards.  

In Perth, Sophia has worked with Black Swan State Theatre Company as the Stage Manager for Blue and The Bleeding Tree and previously worked as Assistant Stage Manager on Dirty Birds, Once, and York. Sophia has also stage managed for The Last Great Hunt, Barking Gecko Theatre, and the West Australian Symphony Orchestra. Beyond theatre, Sophia works annually with Tennis Australia as a Floor Manager during the United Cup, and she regularly works in various production roles with Perth Festival.

Krystelle Quartermain

Graduating with a BFA from NIDA in 2021, Krystelle is a freelance stage manager. She has worked on various productions including The Deb with ATYP (2022), School of Rock: The Arena Musical with GBE (2022), James Galea’s BEST TRICK EVER at the Sydney Opera House (2021), and has worked with the Coogee Christmas Carols the last two years. 

Krystelle currently works within the live music events for Australian Chamber Orchestra, additionally having worked as a radio microphone technician for Sydney Theatre Company. More recently, Krystelle has been a Stage and Company Manager for the last few Neglected Musicals at the Hayes Theatre (IF/THEN 2023, They’re Playing Our Song 2024, The Apple Tree 2025) and Tell Me On A Sunday (Hayes Theatre 2024), and was the SM for Force Majeure’s GURR ERA OP (RISING Festival Melbourne 2024). This year she’s been the Stage Manager for Ensemble Theatre’s THE GLASS MENAGERIE and PRIMARY TRUST, and has just come off a National Tour with Legs On The Wall for BEETLE. 

Krystelle was last with Belvoir last year as the Assistant Stage Manager and Book Cover for Well-Behaved Women, and is excited to be back working with Belvoir!