What is an artistic director and why does STC need one? Print Email Email to a friend Your email Your name Friend's email Friend's name Verification Please prove your humanity Go on prove it :) Close Related Articles Indie theatre sector releases zero-tolerance harassment policy ‘We will no longer tolerate this climate of fear and silence,’ says the sector. On the move: the latest appointments and resignations Changes at Sydney Opera House, Artbank, Ten Days on the Island, Terrapin Puppet Theatre and more. Lost: 5 A series of monologues on those suffering homelessness in Melbourne by award- winning playwright Daniel Keene. A searing, poignant and nuanced production that pulls at every heart string. Bluebeard’s Castle The Sydney Symphony Orchestra revives Bela Bartók's haunting operatic psychodrama. (Premium content) Premium content John Severn Friday 2 September, 2016 A flagship theatre company can transform a city’s view of its place in the world, prompting conversations on issues of local significance. This content is only available to members of ArtsHub Subscribe Now for instant access! A subscription to ArtsHub will enable you to: Access the most comprehensive jobs board for the arts sector, with hundreds of positions posted weekly Keep up to date with the latest industry news Access thousands of subscriber-only features, articles and guides Be in the know with upcoming events and exhibitions added daily Learn how and where to get grants, with the most extensive grant finder in the Arts industry ... and much, much more. Subscribe Now and join the Australian arts community today Member login Email address Password Forgot password? About the author I currently teach Theatre Studies at the University of New South Wales and the University of Wollongong, and International Studies at Macquarie University. My research focuses on theatre, opera, adaptation and community, with a particular interest in the ways that musical and operatic adaptations of Shakespeare and other playwrights for the spoken stage have been used to create and maintain various forms of local, national and international community, both in the past and today. My research centres especially on intercultural adaptations across Australia, Europe and the US. As well as my PhD from UNSW, I have a Masters in Shakespeare and Theatre from the Shakespeare Institute, University of Birmingham, and separate honours degrees in Theatre Studies and in Opera Studies from the University of Manchester/Rose Bruford College. Prior to turning to academia, I had a career as a lawyer, both in-house and in private practice, and have an LLB(Hons) in Law and French from the University of Edinburgh.