Staging the World 2025

Applications are open for our 2025 Staging the World program with Azan Ahmed (23 June to 5 July 2025) at Riverside Theatres.
Applications closing 10 April.

STAGING THE WORLD is an intensive skills development program for artists of colour, to work with and receive mentorship from established international creatives.
This program is funded by the Girgensohn Foundation.

ABOUT OUR 2025 PROGRAM

In 2025 we have a unique opportunity for a select group of artists in the disciplines of spoken word, acting and playwriting to explore the performative potential of their practice, sharpen their writing skills, build their toolkit and discover the potential of working in a theatrical mode.

Providing space, time and creative support, the programme nurtures the creation of new work in spoken word, storytelling and poetry whilst exploring the artform’s relationship to other disciplines such as theatre, dance and digital art, and interrogating the opportunities these offer for pushing the boundaries of their artistry.

Artists will develop confidence in performing their own (and each other’s) work, generating new material and being part of an ensemble. With a particular focus on works written by multi-hyphenates like Michaela Coel, Sabrina Mahfouz, Riz Ahmed, Yomi Sode etc.

This intensive course will allow artists to develop safe practices of reaching inwards and sustainably delivering a well-executed story. The programme is tailored so that artists are able enhance their skillset and bridge the gaps between different disciplines, making them a more well-rounded presence in a rehearsal room and increasing their clarity of vision. Although the course covers poetry, performance and playwrighting the most important word we will return to is: Play.

Participants will develop:

• Modes of actor training (voice work, movement, characterisation, redirection, scene study)
• Monologue & Soliloquy skills development
• Poetry writing and foundation playwriting skills development (developing and sustaining a creative practice)
• Play reading, script analysis and critique to develop dramaturgical literacy;
• Script writing and story development;
• One-on-one mentorship
• End of program showing of new works in development, presented at NTofP’s Heartland Festival on Saturday 5 July

NOTE FROM OUR MENTOR – Azan Ahmed

If you’ve ever felt the desire to write & perform, to not be contained in one lane, then this initiative is for you.  I’m so excited to collaborate, tune into your creative practice and provide tools to help laser focus your creativity and amplify your authentic voice.  The programme will be drawn upon my own working experience as a multi-hyphenate and I’d love to offer others support in how to manage that. Here’s a more in-depth look at my skill set:

Poetry & Playwriting:

• Daytime Deewane was initially just a poetic monologue which then turned into a theatre commission. Having had no previous playwriting training, I had to turn a 10 minute poem into a 60 minute play.
• Having founded Deen & Dunya (poetry and performance nights), I have over 3 years’ experience in talent development. This includes dramaturgy, script editing and performance coaching for each poet that has performed at our events.

Performance:

• Credits spanning stage and screen will allow me to offer actor training to experienced and first-time performers. I’ve played on the Olivier stage of the National Theatre in London to 1200 people, but I’ve also performed a solo show in a 70-seater playing 6 different characters. I can offer an understanding of characterisation which will enhance spoken word poets/writers to break out of complacent rhythms.
• I did not receive formal drama school training. Rather, my training came from development schemes with the Almeida, Bush, Hampstead and Royal Court Theatres. So, I won’t try to impart a specific ‘method’ onto any artist. Rather, I’m offering the bits I’ve found useful from being on the job.

MORE APPLICATION INFORMATION

• Applications close: 10 April 2025
• APPLY HERE
• Please contact Leigh Russell if any issues accessing application form lrussell@cityofparramatta.nsw.gov.au
• Applicants will be advised in late April 2025
• REQUIRED DATES runs over 10 days during 23 June to 5 July 2025 – see schedule below.
• Participants will have the opportunity to perform as part of an evening of spoken word in the 2025 Heartland Festival at NTofP on Saturday 5 July (NB, performance fee will be paid)
• Ideal candidates: Poets. Spoken Word Artists. Actors who wish to write. Playwrights. Participants need skill in only one area, but must be interested in participating in all three forms.
• Preference will be given to creatives with experience in spoken word performance
• Applications will be accepted from NSW POC creatives
• Preference to Western Sydney artists
• A stipend will be provided to participants $600 for program and $300 artist fee for participation in Spoken word evening on Saturday 5 July
• Read more about our 2023 AND 2024 program with Tarell Alvin McCraney here and Mina Morita here.

REQUIREMENTS

• Applicants must submit a Bio with experience
• Participants must be able to commit to full period
• Applicants must be over 18.
• Applicants must be from a POC background
• APPLY HERE 

Please contact Leigh Russell if you have any further questions lrussell@cityofparramatta.nsw.gov.au

AZAN AHMED BIO

Azan Ahmed is an actor, poet & award-winning playwright. He is the founder & lead producer of Deen & Dunya.

Previous theatre credits include: Much Ado About Nothing (RSC); Statues (Bush); After Sex (Arcola); Ten Nights (Omnibus); The Father and The Assassin (National Theatre); The Tempest (Shakespeare’s Globe); Name, Place, Animal, Thing (Almeida Theatre); Conspiracy (New Diorama Theatre / Underbelly Edinburgh); (This Isn’t) A True Story (Almeida Young Company at Rose Lipman Building); Cacophony (Almeida Young Company at Yard Theatre); Never Swim Alone (Etcetera Theatre).
Previous screen credits include: Code of Silence (ITV); Just Act Normal (BBC 3); Van Der Valk (ITV); Count Abdulla (Fudge Park / ITVX); Mood (BBC / Bonafide); Hope Street (BBC / Britbox); Doctors (BBC); What’s Love Got To Do With It? (Instinct Productions / The Searchers).
Writing credits include: Statues (Bush); Daytime Deewane (Half Moon & Tour).  Daytime Deewane  won the 2023 Off-West End award for Best Writing (TYA), and  Statues was nominated for Best New Play and Best Lead Performance in the 2025 Off West-End Awards.

SCHEDULE

DATE tbc Online meet & greet with Participants and briefing on preparation materials and readings

Week One: Researching & Generating

Week one will focus on how and why we are drawn to storytelling. We will examine and explore our bodies as vessels of storytelling and the best ways they can be utilized. We will get a sense of the purpose behind our work. Becoming a rooted and energised ensemble.

We will immerse ourselves in monologues, formally challenging poems and dynamic plays.

Artists will engage in several exercises both on the page and up on their feet. Freewriting, improvisation and character/world building. The aim is to minimise the fear of performing, understand which kinds of stories we want to tell and identify exciting ways to tell them.

By the end of the week each artist will have at least one idea they wish to pursue for the sharing and there will be 1:1s to discuss the support needed to realise their vision.

Week Two: Embodying

Artists will receive dramaturgical support, undergo workshops on editing and receive redirection when rehearsing their pieces. We will look in depth at how to safely, playfully and dynamically bring a monologue from page to stage. Acting techniques such as uniting, internal monologue and subtext will be put into practice. The cohort will gear up for their industry sharing but continue to receive 1:1 mentorship on how to sustain their practice, work as a freelancer beyond the course.

Please contact Leigh Russell lrussell@nationaltheatreofparramatta.com.au if you have any further questions.

ABOUT STAGING THE WORLD 

National Theatre of Parramatta launched the Staging the World  program in 2023 with a two-week intensive mentorship with one of the world’s leading playwrights, Tarell Alvin McCraney and in 2024 with director Mina Morita. Previous program participants have included: Challito Browne, James Elazzi, Moreblessing Maturure, Jules Orcullo, S. Shakthidharan, Aileen Huynh, Monica Kumar, Fernando de Miguel Fuertes, Pratha Nagpal, Bali Padda, Monica Sayers, Ryan Whitworth-Jones. and are thrilled to be launching our third year of this successful program.

National Theatre of Parramatta is an essential hub for inclusivity, creative exploration, growth and empowerment. Our work and programs are critical in that we invest in careers and open doors for our artists, creating long term opportunities

“I wasn’t totally sure what to expect. I assumed it would be similar to other workshops that I’ve done in the past. It wasn’t that this program didn’t meet my expectations, it’s that, what we covered was so outside of my experience, I don’t think I could have seen it coming. It didn’t exist inside my awareness until we were in the middle of it. It was really valuable and I believe more people should have the opportunity to have space held for them in this way. It’s something that the five of us learned over the course of the week and I’d love if we had the opportunity to pass that on at some point.” 2023 participant

“Tarell was incredible; vulnerable, generous, responsive, caring, smart, wise. It was a deeply meaningful experience that I will carry with me for a long time”. – 2023 participant 

“Mina is fantastic, bringing a wealth of experience and valuable insights. Her communication style is open, caring, and inclusive, creating a strong sense of being truly “seen.” There’s a feeling that any creative would find her guidance to be a tremendous asset. I have no doubt that I’ll carry many of the things she’s shared with me throughout the rest of my career.” 2024 participant

“It is an incredible program that fosters Western Sydney artists and emerging directors. The things you learn in the process are invaluable to developing good directing practice. For BIPOC artists this program provides us with a space to discover and explore our artistry. As an Aboriginal man, to have a program that provides a space where my cultural practice and directing practice intersect was beyond enriching.” – 2024 participant