version 1.0 - Artists

Creative Producer
David Williams is a performer, technician, producer and writer. He has worked with Sidetrack, Sydney Theatre Company, Blast Theory, Bonemap, pvi collective, and Platform 27. Parallel to this, he has worked as a mechanist and flyman at the Sydney Opera House since 1997. David holds an Honours degree in Theatre from UWS Nepean, and a PhD from UNSW, and his writings on performance regularly appear in RealTime. He is a founding member and Creative Producer of version 1.0, and has co-devised and produced all of the company's work since 1998 including Deeply offensive and utterly untrue, The Wages of Spin, CMI (A Certain Maritime Incident), From a distance... and The second Last Supper. Most recently he directed The Bougainville Photoplay Project and was a key artist on version 1.0’s development of Hurt and Damage.

Company Artists
Danielle Antaki initially attained a BA majoring in Fine Arts and Italian from the University of Sydney before graduating from the University of Western Sydney with a BA in Drama. Danielle has worked extensively in theatre, film and television. Her theatre experience includes performing with such companies as version 1.0, The Stables, Sidetrack, Jigsaw Theatre (Canberra), Darlinghurst Theatre, PACT, The Sydney Art Theatre and the Cub Malthouse (Melbourne) amongst others. Recently she worked for Opera Australia in Carmen, playing the tavern owner, Lillas Pastia. She has toured Shakespearean plays in repertoire with Troubadour Theatre Company and she has regularly performed with Shakespeare Under the Stars for the Coogee Bay Arts Festival. She has performed in several version 1.0 productions including A Certain Maritime Incident and The Second Last Supper. She also works regularly with MilkCrate Theatre performing forum theatre productions with members of the homeless community. Her film and TV credits include Allsaints (Channel 7), So Close to Home (Second Sight Productions - SBS), Backberner (ABC) and 2-Door Mansion (Polyester Films – Channel 9). She has also directed productions for Shopfront Theatre, Studio Q at the Joan Sutherland Performing Arts Centre, Australian International Performing Arts High and Ashfield Youth Theatre. Danielle has also completed a Graduate Diploma of Education from the University of New England, Armidale.

Sean Bacon studied video & visual arts, graduating with Honours in 1998. He worked with the French Dance company Experience Harmaat (2000-2), and their collaboration Nobody Nevermind opened the performance section of the prestigious Venice Biennial (2001). Other works include a solo show, Collective, (Cast Gallery, Hobart), a group show Brilliant Refraction (Cube 37, Melbourne), and a collaborative performance installation Sleeplessness (Performance Space 2003). He was awarded a 3-month residency at the Australia Council’s Green Street Studios in New York in 2005, and commenced a PhD at UNSW in 2008. He was the video artist on version 1.0’s Deeply offensive and utterly untrue, The Wages of Spin, The Bougainville Photoplay Project and Hurt and Damage.

Stephen Klinder graduated from UWS Nepean with a BA in Performance in 1995. Since then he has worked in various television and film roles and has worked in a wide breadth of stage roles with companies such as Company Theatre Physical, The Australian Shakespeare Company, Urban Theatre Projects, Cabin Crew, pvi Collective and Downstairs Belvoir. Stephen was a producer of cabaret and theatre with Brown Fox Productions where he also wrote, performed and directed, and is a regular collaborator with version 1.0 working on Deeply Offensive and Utterly Untrue, CMI – A Certain Maritime Incident, From A Distance, The Wages of Spin, The Second Last Supper and many others. Stephen has also had his play Purgatory Down Under produced at The Old Fitzroy Hotel and read at the Sydney Opera House. Stephen is also an accomplished Lighting Designer and Production Manager.

Jane Phegan graduated from Theatre Nepean in 2005. At Nepean, she performed in Widows, Red Noses and House of Bernarda Alba. Also, during this time, Jane co-directed and performed in Howard Barker’s Scenes from an Execution for K Street Productions. Last year, she worked with director Alex Galeazzi in Alana Valentine’s Singing the Lonely Heart and Tony Kushner’s Angels in America for the New Theatre. Most recently, Jane has been working with Alana again, on her new film script, Hitting the Bricks. Jane has performed with version 1.0 in X Marks the Spot (Opera House), From a distance…, Deeply offensive and utterly untrue and Hurt and Damage.

Christopher Ryan was a founding member of The Sydney Front and has also worked with One Extra Dance Company, Sidetrack Performance Group, Kicking & Screaming Theatre and collaborated extensively with filmmaker/photographer Stephen Cummins (1960-1994). Chris was Artistic Director of PACT Theatre from 1997-1999. Recently he was artistic consultant/dramaturge for My Darling Patricia’s Politely Savage and Morganic’s Survival Tactics. For version 1.0 he has performed in The second Last Supper, CMI (A Certain Maritime Incident) and From a distance…, as well as physical dramaturgy for Deeply offensive and utterly untrue and Hurt and Damage. Chris is currently movement tutor for the Creative Arts Faculty, University of Wollongong, and directed the 3rd year graduate show Oedipus Wrecks.

Yana Taylor is a lecturer in performance and movement at University of Western Sydney, and has an extensive background as a director, choreographer, writer, performer, and educator. Most recently she completed her doctorate in theatre at the University of Sydney. She has been a key contributor to version 1.0’s work since performing in The second Last Supper, working as performance dramaturge and outside eye on CMI (A Certain Maritime Incident) and The Wages of Spin, as the consultant director on From a distance... and performing in Deeply offensive and utterly untrue and Hurt and Damage.

Kym Vercoe graduated from UWS/Theatre Nepean in 1996. She became a core member of Company Theatre Physical in 1998 and with them devised and performed Waltz No. 6, Tailing Out, Landed and Overexposed. For Harlos Productions; King Lear in 2001 and 2002. Kym has worked extensively with ERTH, both in Australia and internationally. For the Darlinghurst Theatre Company Kym has performed in Necessary Targets and Sanctus. Kym first worked for version 1.0 in 2006, touring nationally with The Wages of Spin, and as a key artist on Deeply offensive and utterly untrue and the development of Hurt and Damage.

Company Dramaturg
Paul Dwyer has worked as a performer/director on over a dozen major productions with youth and community theatre companies such as MRPG, Freewheels and Shopfront. He was a founding member of the contemporary performance ensemble Public Works. He completed his doctorate in theatre at the University of Paris-8 and Sydney University, where he now teaches in the Department of Performance Studies. He was the dramaturge for version 1.0’s Deeply offensive and utterly untrue, From a distance..., The Wages of Spin,and CMI (A Certain Maritime Incident), as well as developing his solo performance The Bougainville Photoplay Project in collaboration with David Williams.

Associate Artist
Deborah Pollard is a performer, writer, dramaturg and director having worked with version 1.0, Jigsaw Theatre Company, Soft Core, Urban Theatre Projects, Performance Space, Playworks, Ent'racte and Two Turns. As Artistic Director of Salamanca Theatre Company in Hobart from 1997 to 2000, works she created include Still Life (1999), Reality Check (1998), Colour My World (1999) and Panopticon (2000). Since 1993 Deborah has collaborated with Indonesian performance and installation artists, creating large-scale performance works, most notably Postcard (1995), Badai Pasir (1996) and To Eat Flowers and Walk on Glass (1999). She created Girt By Sea (2002), and recently toured the performance installation Shapes of Sleep (2006) to the UK. Deborah has been a recipient of the Winston Churchill Memorial Fellowship (2000), the Rex Cramphorn Scholarship (2001) and an Australia Council New Media Arts Fellowship (2002/03). For version 1.0, she has been a key artist on CMI (2004) and The Wages of Spin (2005) and Hurt and Damage (2008). From 2006-2007 she was the Interim Artistic Director for Urban Theatre Projects. Recent credits include directing The Folding Wife for Urban Theatre Projects, and devising, performing and directing Blue Print at Performance Space. She is currently undertaking an Asialink residency at TheatreWorks in Singapore.