What the court documents reveal about Geoffrey Rush’s defamation action

Updated December 08, 2017 19:50:56

The defamation suit filed by Geoffrey Rush against The Daily Telegraph claims the newspaper made him out to be a “pervert” and “sexual predator” with their “KING LEER” headline.

The 66-year-old actor has launched defamation proceedings against the tabloid, with a statement of claim filed in the Federal Court today.

The documents also allege that Rush was forced out of his role as the AACTA president, rather than voluntarily stepping aside, as he told the media on the weekend.

Who is he suing?

The 2012 Australian of Year is suing the owner of The Daily Telegraph, Nationwide News Pty Limited, and the journalist who penned the articles, Jonathon Moran.

Moran is a reporter for the Confidential section of the newspaper which reports on entertainment news and celebrity gossip.

His reporting was on the front page of the print publication and widely distributed online when the stories were published.

What is he suing for?

The statement of claim lodged by Rush’s lawyers takes aim at a series of articles, headlines and social media.

The first complaint is about the newspaper’s billboard on November 30, a poster usually seen on the outside of newsagents, which said: “WORLD EXCLUSIVE: Geoffrey Rush in scandal claims, theatre company confirms ‘inappropriate behaviour’.”

The court documents allege the implication was that Rush had “engaged in scandalously inappropriate behaviour” and “inappropriate behaviour of a sexual nature” in the theatre.

The next issue was about the article published that same day which was run with the front page headline: “KING LEER: World Exclusive Oscar-winner Rush denies ‘inappropriate behaviour’ during Sydney stage show.”

The lawyers claim the article, billboard and headlines had defamatory meaning and made Rush out to be a “pervert” a “sexual predator” and had engaged in “inappropriate behaviour” against another person in the Sydney Theatre Company’s 2015 production of King Lear.

The second article which Rush’s lawyers raised as a problem was published on December 1 with the headline “WE’RE WITH YOU: Theatre cast back accuser as Rush denies ‘touching'”.

Rush’s team argue the meaning that could be taken from this is he behaved as a “sexual predator”, had “committed sexual assault”, was ” a pervert”, had “inappropriately touched an actress” and his behaviour was so serious the STC “would never work with him again”.

What else?

One of the further complaints is how Rush’s allegations were linked to other high-profile reports in recent weeks of sexual harassment and assault in the screen and theatre worlds: namely producer Harvey Weinstein, actor Kevin Spacey and Australian television presenter Don Burke.

The legal team pointed out that The Daily Telegraph published in print the allegations about their famous client alongside an article “about allegations concerning alleged sexual predator and television personality Don Burke so as to falsely and unfairly associate the allegations against the applicant with the allegations against Mr Burke”.

The damages section also claimed that the newspaper’s labelling of Rush as “King Leer” and “Bard behaviour” ridiculed Rush and damaged his reputation.

Special damages alleged were that Rush would suffer “economic loss”, his reputation would be “irreparably harmed” so that he would be “shunned by employers in future” and he was asked to quit as AACTA president.

How much money is involved?

The documents don’t give Rush’s defamation action a dollar figure.

Other recent high-profile defamation cases by celebrities against media outlets have some large dollar amounts attached to them.

Australian actor Rebel Wilson successfully sued Bauer Media for $4.5 million over a series of articles that appeared in Woman’s Day, Women’s Weekly, OK Magazine and New Weekly in 2015.

Bauer said they would be appealing the decision.

What is the newspaper’s response?

The Daily Telegraph editor Chris Dore said they would defend the newspaper’s reporting in court.

“The Daily Telegraph accurately reported the Sydney Theatre Company received a complaint alleging that Mr Geoffrey Rush had engaged in inappropriate behaviour,” he said.

“We will defend our position in court.”

The matter is expected to reach court early in 2018.

Topics: arts-and-entertainment, bullying, film-movies, actor, sydney-2000, melbourne-3000

First posted December 08, 2017 19:38:42

Forget Blade Runner or Justice League — these were the best films of 2017

Updated December 07, 2017 15:49:33

In 2017, Hollywood soldiered on in the determined belief that big budget blockbusters can drag audiences away from the prestige television couch.

Unfortunately, there was no joy for the uninspired Blade Runner 2049, which bombed at the box office, or Justice League, which proved how stale DC have become.

But when Hollywood thought outside the box — employing Taika Waititi to direct Thor: Ragnarok, or greenlighting a King Kong remake that thumbed its nose at tradition — the results were like a tonic.

The Weinstein scandal cast a shadow over the final stretch of the year, though new possibilities may emerge in the power vacuum that follows his exit — hopefully for more crossover gems like Get Out, and definitely more female directors like Kelly Reichardt.

Away from the US, the French continued to release great work, and in those countries beyond Western Europe, where cinema is increasingly daring and innovative, great movies continue to surprise.

In alphabetical order, here are my top seven:

Certain Women

Kelly Reichardt’s astounding, immaculately crafted film shouts in whispers. A drama of subtle inflections, it unfolds in three chapters, each with female protagonists, set against a cold, arid Montana landscape.

Laura Dern plays a lawyer who contends with a mentally unstable man who has been cheated out of a compensation claim.

Michelle Williams is an unhappily married woman and mother trying to convince an elderly neighbour to give her a pile of sandstone blocks for her new house.

Lily Gladstone is an indigenous ranch hand who falls in love with a teacher at a local night school (Kristen Stewart).

These may seem like everyday set-ups that border on the banal, but in a way that’s reminiscent of Raymond Carver’s minimalism.

Reichardt’s eye for detail locates the drama, humour and quiet desperation of each story, proving she’s a filmmaker at the top of her game.

The film barely received a release after its 2016 festival run, but track it down online — it’s one of the finest examples of contemporary American indie cinema.

My Happy Family

It’s not easy leaving the life you know and starting again, especially if you’re a wife, mother and daughter in an extended family who lean on you.

But this absolute gem of a film with its ironic title invites us to take the leap with protagonist Manana (Ia Shughliashvili), a 50-year-old woman who, for too long it seems, has been putting her own needs behind everyone else’s.

Moving into a small flat in the Georgian capital Tbilisi, with a balcony view of lush trees and a fridge that she stocks with cream cake, Manana embarks upon an audacious adventure, resisting her family’s protests, guilt trips or bribes.

Directing duo Nana Ekvtimishvili and Simon Groß masterfully build this drama of family secrets and midlife crises with a superb, multi-generational cast.

They’re wonderfully framed by breathtaking, fluid cinematography that swirls around the chaos of family arguments and breathes deep the joy of solitude.

My Happy Family is a standout of the year for how it perceptively depicts the crossroads of middle age — especially for women — and a society in transition between centuries old tradition to a more liberal, though not necessarily less problematic future.


Few films have risen to the challenge of documenting the paranoia and perversion of homegrown terrorism in the contemporary West.

But in French director Bertrand Bonello’s thriller (bought by Netflix at the Cannes Film Festival for exclusive release on its streaming platform) anonymous young terrorists with vague motivations become a potent and tragic symbol of contemporary political violence.

After an opening that sees them moving about Paris in a highly coordinated but almost robotic fashion setting off a series of bombings, they hide in a closed department store to wait out the police sweep.

Ironically surrounded by the trappings of the society they wish to destroy, they begin to act like kids again, trying on clothes, listening to music, but with a surprising lack of remorse or understanding of the reaction they have provoked.

The film is a carefully constructed hall of mirrors within which Bonello shows us the horror of anger without empathy, and the State as the most terrifying player of all.

It is a pitch black allegory for our time.

Kong: Skull Island

It was a toss up between this and Taika Waititi’s Thor: Ragnarok for best Hollywood action movie this year.

But director Jordan Vogt-Roberts’ twist on the King Kong story edges out the Marvel film, probably benefitting from the fact it doesn’t have a comic book straightjacket to fit in to.

The film riffs loosely on Apocalypse Now, creating a pastiche that’s both poignant and irreverent. In fact, stop laughing for a moment and you might ponder how this is actually a very potent anti-war film.

The first sequence is set to Black Sabbath’s Paranoid and references some of the elements of the iconic opening of Coppola’s movie: slow-motion rotors, palm trees, orange explosions. Then it’s suddenly cut short by a palm tree flung in the opposite direction — nature hits back!

From here, the movie barely misses a beat and the cast, including Samuel L Jackson and Tom Hiddleston, play their characters on a satirical knife edge that’s comic and occasionally tragic.

Kong takes no prisoners, and why should he?

Get Out

This film proved that cinema — and what’s more American genre cinema—still speaks powerfully to the present moment.

It’s a deliriously good horror movie from director and comedian Jordan Peele, shot by Australian Toby Oliver, that speaks to the confusion and disappointment of race relations in the US post Obama.

To the question, “How did things get so bad?” it’s a suitably twisted response.

A black man (Daniel Kaluuya) accompanies his white girlfriend (Allison Williams) to her left-leaning parent’s place for the weekend in leafy upstate New York, a premise that recalls Guess Who’s Coming to Dinner?

But soon — thanks to a creepy set-up in which the family’s black servants appear with glazed-over expressions and Catherine Keener and Bradley Whitford are unsettlingly inquisitive as the parents — the film heads into the paranoid terrain of Rosemary’s Baby or The Stepford Wives.

The latent racism of the white middle class characters becomes, erm, not so latent, and the film becomes a meld of cringe comedy, psychological thriller and body horror, making superb use of a contained location and cast to point beyond the screen at uncomfortable truths.

The Lost City of Z

With a blink-and-you-missed it release window, this epic adventure about British Amazon explorer Percy Fawcett is an example of a filmmaker working in a classical tradition at a very high level.

Writer-director James Gray (The Immigrant) is one of the most talented American filmmakers, though he came under fire for transforming a man who historians insist was an inept, even racist figure into a heroic and progressive trailblazer.

Whatever the reality, as a highly fictionalised cinematic work, the film has a breathtaking scope and beautiful cinematography.

A stoic but intense Charlie Hunnan plays an obsessed, idealistic man hunting for a ruined city somewhere in the humid gloom of the rainforest. Robert Pattinson, stepping out of the spotlight, plays his bedraggled offsider.

The film employs many of the clichés of the jungle adventure, but it transforms them into something sublime.

Personal Shopper

On the surface, Kristen Stewart is an actress who seems to have a narrow range of gestures, inflections and tones.

But with the right director and in the right context, her presence fills the frame and — like many great screen actors — you can’t look away.

Her second collaboration with French writer-director Olivier Assayas is a case in point. She plays a psychic who’s also a personal assistant working for a mostly absent German celebrity.

Her job involves traveling between London and Paris buying (and sometimes trying on) glamorous clothes for her employer.

But the absence of her boss mirrors another, deeper gulf — that of her dead twin brother.

Personal Shopper is partly a ghost story, partly a slow burn thriller, but also a metaphor about the career limbo that swallows up the best years of many people lives.

Depending on your sensitives, it also has one of the most intense or absurd extended texting scenes in cinema history.

Stewart is captivating as a young woman wandering through her life, almost as a ghost herself, and Assayas proves a director worthy of her talent.

Topics: arts-and-entertainment, film-movies, actor, director, united-states, georgia, france

First posted December 07, 2017 15:29:11

Geoffrey Rush denies ‘inappropriate behaviour’ after formal complaint

Posted November 30, 2017 10:42:19

Academy Award-winning actor Geoffrey Rush has been accused of “inappropriate behaviour” during his work with the Sydney Theatre Company (STC).

Through his lawyers, Rush has vigorously denied the allegations to other media outlets saying he had not been informed by STC either of the existence of the complaint or the nature of the complaint.

A Sydney Theatre Company spokeswoman said the organisation had “received a complaint alleging that Mr Geoffrey Rush had engaged in inappropriate behaviour”.

“The company received the complaint when Mr Rush’s engagement with the company had ended,” she said.

“The company continues to work with the complainant to minimise the risk of future instances of the alleged behaviour occurring in its workplace.”

Rush, 66, most recently performed in the STC production of Shakespeare’s King Lear between November 2015 and January 2016.

However, the 2012 Australian of the Year has also been involved in STC productions like The Importance of Being Earnest and The Government Inspector.

“The complainant has requested that their identity be withheld,” the STC spokeswoman said.

“STC respects that request and for privacy reasons, will not be making any further comments.”

Rush is one of the country’s most respected actors and among the few who have won the ‘Triple Crown of Acting’, meaning he has won an Academy Award, Primetime Emmy Award and a Tony Award.

Rush’s lawyer has been contacted for comment.

Topics: arts-and-entertainment, actor, theatre, opera-and-musical-theatre, sydney-2000

Franco pays tribute to The Room in doomed bromance tragicomedy

Updated November 23, 2017 15:02:18

The 2003 film The Room has a reputation as the worst film ever made.

A vanity project gone wrong, it was made by an independently wealthy Polish American film buff named Tommy Wiseau, and still screens regularly around the world for audiences seeking a so-bad-it’s-good fix.

If you haven’t bought it online or made it one of the regular cult screenings in cinemas, you can’t understand just how inept a feature film can be.

It has boilerplate dialogue, flimsy sets, a rooftop location with a dodgy green screen backdrop of San Francisco, and a cliche-ridden, barely coherent plot about a man whose fiance cheats on him with his best friend.

Think Douglas Sirk crossed with Melrose Place as a community TV show that never gets beyond the pilot stage.

But at the centre of the mess, in the lead role, is the expressionless presence of Wiseau himself — a slightly stooped, wiry figure with long, greasy rock star hair and a lazy eye, who delivers all his lines with an off-putting lack of affect, even when he’s shouting in anguish, like his acting role model James Dean.

The Disaster Artist, a film about the making of The Room based on the memoir of the same name by actor Greg Sestero, delves beneath the unintentionally comic surface to find a thinly veiled cry for help.

Directed by James Franco, who also plays Wiseau, it’s scripted by Scott Neustadter and Michael H Weber, a duo famous for romantic films like 500 Days of Summer. Which makes sense, because The Disaster Artist is on one level the story of a bromance.

It’s about Tommy and Greg meeting in acting class, sharing Tommy’s flat in Los Angeles and trying to break into the business.

Then, when Greg (played by Franco’s brother Dave) falls in love with a woman he meets in a bar, Tommy retreats into himself and channels the trauma into the story of The Room.

Franco reveals Wiseau’s loneliness

With clear echoes of other films about doomed homoerotic attractions, like Behind the Candelabra, Beau Travail and even Death in Venice, Franco’s film becomes a perceptive tragicomedy.

His instinct as director — using low-budget naturalism so the absurdity of what’s happening is starkly apparent — works well, as does his performance of dazed, stoner blankness and slurred Euro speech.

It initially seems like he’s doing an impression for a joke, but darker undertones are revealed as Tommy becomes a tyrant on set.

What Franco’s performance brings out is a sense of emotional pain that’s perhaps not obvious in the real Tommy Wiseau.

That said, his staging of The Room’s shambolic and tortuous shoot is often a hilarious spectacle, and includes shot-for-shot recreations of some of the more inadvertently funny scenes (you won’t need to have seen it to enjoy them).

Seth Rogen, Zac Efron, Ari Graynor and Jacki Weaver feature among the cast and crew, all mirroring our own disbelief, embarrassment and confusion.

Wiseau, meanwhile, remains an enigma.

True to life, Franco’s on-screen version of the man reveals scarce details about his past. He never explains the source of his Eastern European accent, or his multi-million-dollar fortune — described by a bank teller in the film as a “bottomless pit”.

But a brief mention of a road accident suggests his mind has been left slightly scrambled.

What’s most essential to Franco and his screenwriters is Wiseau’s loneliness and inability to win the respect of those around him, despite often lavish displays of largesse.

For the crowds that still flock to screenings of The Room to laugh and shake their heads at his obliviousness, Franco’s thoughtful tribute offers an affectionate and moving backstory.

Recommended viewing.

Topics: arts-and-entertainment, film-movies, biography-film, comedy-film, director, actor, united-states

First posted November 23, 2017 14:18:26

Should we be ashamed to watch Kevin Spacey’s films?

Updated November 23, 2017 12:51:18

Enjoying the work of Kevin Spacey the actor doesn’t make you a bad person.

Even now, knowing what you’ve read about him in the media, you are under no moral obligation to switch the channel if American Beauty comes on.

Enjoying the actor’s work doesn’t mean you tacitly endorse the alleged behaviour of Kevin Spacey the private citizen.

Glengarry Glen Ross remains a masterpiece. But you’d probably think twice about watching it on your iPad on a crowded train, wouldn’t you?

The moral panic around people watching — and appreciating — Spacey’s many critically acclaimed dramatic performances isn’t about Kevin Spacey and whether he deserves an audience.

Let’s not forget, he hasn’t been convicted of anything. This is about us. It’s about how Spacey reflects on us as arbiters of public virtue.

Because in 2017, the people we admire, much like the brands we buy and the ones we boycott, form an integral part of our own identity.

We’ve learned to treat the virtues of our favourite public figures and our favourite brands as if they’re our very own.

When our favourite celebrity sends a Tweet attacking Donald Trump or attacking sexism, or — as is quite likely — attacking Mr Trump’s sexism, we retweet.

When Justin Trudeau makes a progressive political statement with his socks, all of his supporters own a share of the credit.

When Beyoncé Knowles awards someone a scholarship, we all award someone a scholarship. Celebrities invite us to partake in their good deeds — and we gladly accept.

The blurb for Beyoncé’s #Beygood initiative is explicit:

“We’re all in this together. Each and every one of us can make a difference by giving back. Join Beyoncé and #BEYGOOD.”

A solid set of ethics are now part of the artist’s public persona.

“Woke” celebrities need only mutter in support of a popular idea and their social capital rises. It rises because we amplify it. We amplify it because it reflects well on us.

Social media has enabled celebrities and brands to communicate a social purpose at a volume that was impossible before. They can reflect back to us what we want to see in ourselves.

They’re allies to our cause. They prove to us that we chose wisely in elevating them with our patronage.

So when they fall short of the standards we demand, as humans often do, it feels like a personal betrayal. We put them in this position of great influence.

Abusing trust

But investing this heavily in the social construct of a celebrity is unhealthy.

It’s what drives us to worry about whether or not we’re allowed to still like the actor Spacey or enjoy his work.

When Rolf Harris was convicted of 12 counts of indecent assault (now reduced to 11), it was a relatively new experience for us as an audience — it genuinely shocked us.

Harris was a “national treasure”. Jimmy Savile was different. His public persona was never cuddly or pure like Harris’.

“Not Rolf too!” we protested. “That’s my childhood ruined.” We weren’t equipped to be let down to this extent.

We were so stunned at the deception that we barely spared a thought for the actual victims.

Post-Savile and Weinstein (who, let’s not forget, has also not been convicted of any crime), that primitive, naive “Not you, Rolf!” reflex has evolved into a much more visceral protection of our own identity.

This is why we question ourselves so harshly when one of our own transgresses.

Evolving concurrently to the morals as marketing concept was it’s ethical counterweight. If liking ostensibly good artists made you a good person, then surely it also reflects on you when they transgress.

And the bar for outrage is getting ever lower.

Your fave is a problem

Three years ago, six bloggers founded a Tumblr page called Your Fave is Problematic.

It’s a meticulously compiled and zealously moderated archive of celebrity transgressions.

High-profile individuals accused of micro-aggressions, cultural appropriation and fat-shaming were chronicled daily. It marked a turning point in what was already a burgeoning call-out culture.

The blog implicated not only the transgressor, but their admirers.

The tone — and of course the name of the blog — effectively lays the blame for the celebrity’s transgressions at the door of his or her admirers.

If you see your favourite singer on here, that’s on you. Make better choices.

Of course, if you never liked Spacey to begin with, it doesn’t matter.

Your identity remains intact, enhanced even. It’s as beneficial to a person’s identity when someone they dislike proves them right by being a bad person.

There’s a reason Google searches for Spacey and Harvey Weinstein costumes spiked the week before Halloween this year. For some of us, it’s all fun and games.

When the person never formed part of our own personal brand, their behaviour doesn’t impact us.

Why do some people get a pass?

Some celebrities have acted so wickedly that there’s no question of whether to disavow them.

It’s impossible to hear any song by Lostprophets — not that you’re likely to — without instantly recalling the horrors of what singer Ian Watkins did.

Few will argue that the band are due a critical reappraisal any time soon, even if 83.3 per cent of its members did nothing wrong.

The egregiousness of his crimes gives some of us a clarifying moral wisdom. It’s just safer to never, ever put a Lostprophets record on. Even for a joke.

But when you consider less open-and-shut cases, it’s hard to know how to proceed.

Yet-to-be proven allegations, denied allegations and even plain old rumours are either cast-iron proof of a person’s lack of virtue, or it proves that the “other side” are making unfounded claims, depending on your existing opinion of that person.

It often comes down to politics and ideology. The American right barely concealed their schadenfreude when the Democrat-supporting Weinstein was outed as a sexual harasser.

Their opposite numbers were quick to point to the current inhabitant of the White House in response.

But when we invest so heavily in the public image of someone we don’t know, we do become blind to how problematic they are.

Woody Allen and Roman Polanski have continued working while dogged by allegations of moral equivalence to those made against Spacey.

And as I write this, Manchester’s The Happy Mondays are on a UK tour. The band’s dancer, Bez (Mark Berry) will be with them as always, delighting audiences who probably don’t know — or can’t remember — that he went to jail in 2010 for “throttling” his girlfriend.

Michael Fallon recently quit as UK defence secretary for touching Julia Hartley-Brewer’s knee 15 years ago. She’d already forgiven him, but have we?

We’re right to question which people we admire — but the intense process of self-interrogation and policing of those who may consume the work of someone like Spacey is not healthy.

Cary Cooper is 50th Anniversary Professor of Organisational Psychology and Health at Manchester Business School, and visiting professor at Lancaster University.

Originally published in The Conversation

Topics: arts-and-entertainment, actor, sexual-offences, psychology, united-states, australia

First posted November 23, 2017 12:21:40

Touched by an Angel star Della Reese dies aged 86

Posted November 21, 2017 12:42:51

Actress and gospel singer Della Reese, best known for her role in television series Touched by an Angel, has died aged 86 at her home in California, her family said.

The actress “passed away peacefully at her California home surrounded by love” on Sunday, her husband Franklin Lett and her family said in a statement.

The statement was posted on the family’s behalf by Reese’s co-star Roma Downey on her Instagram page.

“Through her life and work she touched and inspired the lives of millions of people,” the statement said.

No cause of death was given, but Reese suffered from diabetes, which was diagnosed about 17 years ago.

Detroit-born Reese was trained as a gospel singer, and first found fame in the late 1950s and early 1960s with pop and jazz hits like Don’t You Know.

First African-American woman to host a talk show

By 1969, she had her own talk show Della — the first to be hosted by an African-American woman.

She then landed roles in shows like It Takes Two and Crazy Like a Fox.

But her biggest part was her role as sarcastic supervisor angel Tess on supernatural CBS TV series Touched By An Angel, which ran for nine years until 2003.

The show’s first season brought mediocre ratings, but its audience grew until it became one of TV’s highest-rated dramas.

Reese also sang the show’s title song Walk With You.

In 1997, she went public with a salary complaint, claiming CBS had reneged that season on an agreement to match her Touched by An Angel pay increases to those of Downey.

CBS said at the time it was “puzzled” by her comments.

“I’m trying not to believe it’s because I’m black, ’cause I was black when they hired me,” Reese said at the time.

“They knew what age I was … I don’t know what it is.”

Reese complained of typecasting

Reese’s other TV and movie roles included Beauty Shop, That’s So Raven, MacGyver, The A Team, LA Law, Harlem Nights, Promised Land and The Royal Family.

In her 1997 autobiography, Angels Along the Way, Reese complained she had difficulty avoiding being typecast for roles before Touched by an Angel.

“There were usually only three types I was ever considered for — the singer, the aunt or the mother [or] neighbour,” she said.

“God knows how I wanted to break out of those three categories and show what else I could do as an actress.”

In the late 1980s, Reese started a church from her Los Angeles living room.

The church, called Understanding Principles for Better Living, known as UP, later moved to its own facilities and Reese became known as The Reverend Dr Della Reese Lett.


Topics: actor, television, arts-and-entertainment, film-movies, death, united-states

Rising star returns to Adelaide for role in State Theatre Company’s Vale

Updated November 18, 2017 15:50:35

Rising star Tilda Cobham-Hervey says she’ll always be drawn back to Adelaide, as her burgeoning career takes her around the world.

The 23-year-old actor has returned home to star in Vale, the State Theatre Company’s final production of the year.

“I love working in Adelaide, it’s such a great community here,” Cobham-Hervey said.

“I keep pretending to move other places and I keep ending up back here, so I think it is a sign.”

Cobham-Hervey got her on-screen break at just 16 in the award winning film 52 Tuesdays, and debuted on stage in last year’s State Theatre Company production of Things I Know To Be True.

She’s also recently tried her hand at directing and stars in the upcoming film Hotel Mumbai, which tells the story of the 2008 terrorist attack.

“It was an amazing process that film. It was the first film I’d worked on that was based on a real event,” she said.

“I did a lot of research into all of the people involved in the terrorist attack, and we feel, I think all of us, a huge responsibility with that story.”

The ‘world is her oyster’

Cobham-Hervey certainly isn’t ready to pigeon hole herself just yet.

“I really enjoy being able to move between art forms and styles, I think it’s really good for my brain to do that.”

Vale reunites Cohbam-Hervey with State Theatre Company artistic director Geordie Brookman.

“Her debut last year … was a massive statement in terms of a new talent stepping out on stage,” Brookham said.

He said the young actress could achieve anything she wanted.

“She could decide to be our next great stage actress, she could commit to film, she could go and become a spectacularly interesting director,” he said.

“I hope she does all of it, she’s a very special artist and the world’s her oyster.”

State Theatre Company has record-breaking year

In Vale Cobham-Hervey portrays Isla, the daughter of a wealthy New York hotelier, who brings her new boyfriend home to meet her parents.

“Part way through the night this new boyfriend’s mum turns up, and I think from that point, things go from bad to worse,” Brookman said.

It will round out a record-breaking year for the State Theatre Company.

It’s already brought in more than $750,000 more at the box office compared to last year.

“We’ve set record audience numbers and had really amazing marquee projects like The Secret River at the start of the year,” Brookman said.

Vale is running at the Dunstan Playhouse until December 3.

Topics: arts-and-entertainment, theatre, community-and-society, actor, film-movies, adelaide-5000, sa

First posted November 18, 2017 15:42:21