A shared history deeply soaked in place, land and memory...

The Line is a story of segregation, confinement, abandonment and cross-racial relationships loosely-set in the 1930s in Perth. This powerful dance-theatre work draws on the rich history that resulted from the enforcement of the prohibited areas after 6pm for Aboriginal people not in employment in the City of Perth and other areas of Western Australian between 1927 and 1954.

The Line shifts and shudders with the strength of contemporary voice, consciously echoing with the energy and movement of an unjust and painful past. A living history, a line that connects to an experience of the local community that is deeply soaked into place, land and memory.

Form and Style:
The Line is a performance that combines theatre and dance, with choreography, recorded and live text and sound

Review quotes:
World premiere 15 May, 2019.

Duration of performance:
70 minutes


Maximum performances per week:

$25,000 (This works is currently in creation and costs are an approximation)

Weekly Fee:
$16,000 (This works is currently in creation and costs are an approximation)

Artist royalty to be negotiated

Date the performance is available from:
21 May, 2019

No. people in Touring Party:

Bump-in Time:
10 hours

Bump-out Time:
4 hours

First Possible Performance:
Evening performance the same day as bump in

Minimum Break Between Shows:
4 hours

Theatre formats:
Proscenium arch, Black Box, with flying facilities

Minimum Stage Width:
10 meters

Minimum Stage Depth:
8 meters

Minimum Stage Height:
6 meters to grid height

Set Description:
The set for The Line is made up of hanging swings (some functional/others not) and 50-cubic meters of soil on a scenery frame

Staging Description:
Traverse hard masking supplied by Co3 Australia. Black tarkett. Isolated smoke alarms as a smoke machine is used throughout the show. 2 pedestal fans side off stage for all rehearsals and performances.

Lighting - provided by company:

Lighting Requirements - to be provided by venue:
Memory lighting console with timed cross fades, wait times, effects units and 12 sub masters with flash function, 48 x 2.4kw dimmers, 2 x smoke machine (DMX controllable), Conventional lighting stock including (but not limited to) 35 x 1.2k Fresnels, 6 x 2.5k Fresnels, 20 x MFL Par64s, 20 x Source 4 15°-30°, 30 x Source 4 25°-50°, 20 x 2.5m booms, 8 x low profile boom bases, 9 x H stands

Audio - provided by company:
Mac Book with Q-Lab, MOTU Ultralite interface

Audio Requirements - to be provided by venue
5.1 surround sound system capable of significant SPL (100db without distortion at ops), 2 x 15” (min) subs preferred, L/R surrounds should be good quality 10” minimum, 2 x 12” foldback speakers placed side of stage L/R, 1 x lapel-style radio microphone.

No. of additional lighting staff required from venue:
1 x LX

No. of additional sound staff required from venue:
1 x SND

No. multi-taskers required from venue:
2 x MX. All crew as required for load in and load out

Dressing rooms required:
2 x dressing rooms. 1 for 2 x male performers, 1 for 1 x female performer

Other technical or performance notes:
Venue will need to provide talkback communication for 3 stations 1 x LX operating position, 1 x sound operating position, 1 x backstage (WIRELESS PREFERRED). SOUND - The sound control position should be in the auditorium placed in a central position with good line of sight to the PA. The system is operated by the sound designer.

Marketing Collateral:
Professional poster and Flyer artwork templates, video footage, images, sample media release.

Community Engagement:
A series of key discussions (panel discussions, Q&A’s, seminars and presentations) as well as practical performance based workshops addressing cross cultural relations

Target Market:
All ages, all genders. Indigenous population, academics and historians.

Show Status:
Tour ready

Dance/Drama/Physical Theatre/Interdisciplinary

Contact Email: