Creative Mentor and Trainer - Glenn Hayden Director / Writer - Jay Chauran Composer - Saurav Rajbongshi Choreographer - Oli Jerang Project Coordinator: Dr Delong Padung Performance Outcome - DK Convention Hall, Itanagar. Program Residence - Karpung Karduk Centre for Folk Performing Arts, Ruskin. A 20-day residential theatre program with community members of Ruksin, Arunachal Pradesh, addressing drug awareness through live performance. Produced by Dr Delong Padung and the Karpung Karduk Centre, with support from the Department of Youth Affairs and Sports.

Writer: Caroline Reid Director: Glenn Hayden Produced by: Deckchair Theatre Commissioned by: Alcoa Year: 2003 Venue: Alcoa Refinery, Western Australia ALCO was a new play by Caroline Reid commissioned by Alcoa and produced by Deckchair Theatre as a site-specific workplace theatre project. Created specifically for the refinery environment, the production used theatre as a direct and engaging way of addressing workplace safety with Alcoa's workforce. Directed by Glenn Hayden, the production was performed on site at the Alcoa refinery rather than in a conventional theatre, placing the work directly within the industrial environment it addressed. The project was seen by more than 6,000 workers, making it one of Deckchair Theatre's largest workplace theatre projects. The project is preserved in the Deckchair Theatre Records at the State Library of Western Australia, including the original 2003 script with handwritten stage directions and a production report.

Director: Glenn Hayden Assistant Director & Writer: Caroline Reid Composer: Peter Dutton Lighting Designer: Sue Grey-Gardner Audio Visual: Nic Mollison Companies: Urban Myth Theatre of Youth, Tutti Arts, New Moves Interactive Dance, Cirkidz Commissioned for: ASSITEJ World Congress 2008, Adelaide Venue: Norwood Town Hall Curfew was commissioned as the closing production of the 2008 ASSITEJ World Congress in Adelaide. Written by Caroline Reid and directed by Glenn Hayden, it imagined a world where young people were subject to a government-imposed curfew. The production combined theatre, music, movement, circus, multimedia and large-scale choral performance. It brought together young performers from across South Australia, including artists from Urban Myth Theatre of Youth, Tutti Arts, New Moves Interactive Dance and Cirkidz. Performers with disability were central to the work, alongside actors, dancers, circus performers, musicians and a large community choir. Contemporary documentation records more than 400 performers, choristers and musicians involved across the production. The international review noted the scale of the performance, its use of multimedia, and the moments of beauty created through the combination of orchestra, choir and dance.

Stories of Teenage Pregnancy Director: Glenn Hayden Head Writer: Francis D. Italiano Assistant Writer: Sarah Wilkinson Movement Director: Neil Simpson Costume Design: Mand Markey Lighting Design: James Renfrey Set Design: Francis D. Italiano We Are Family began as a community theatre project produced by Glenn Hayden with Deckchair Theatre in Fremantle. Developed with more than 30 young women and their stories, the project explored teenage pregnancy and the circumstances surrounding it. The material developed through the community project became a professional touring production in 2001, produced by Deckchair Theatre in collaboration with Creating Theatre. Directed by Glenn Hayden, the production brought the experiences gathered through the original project to a wider youth audience. Italiano and Wilkinson were nominated for Best Script / New Writing at the Performing Arts WA Awards for their work on We Are Family. The production remained grounded in the stories of the young women involved, presenting a contemporary look at the joys, hardships, surprises and celebrations of pregnancy.

Writer: Caroline Reid Director: Glenn Hayden Set Design: Francis Italiano Lighting Design: Joe Mercurio Original Community Project Facilitator: John Saunders Producer: Deckchair Theatre Prayer to an Iron God began as a community theatre project facilitated by John Saunders and developed with young people around the subject of youth suicide. The material subsequently developed into a professional production for Deckchair Theatre, directed by Glenn Hayden. Set in an isolated Western Australian country town, the play follows four teenagers dealing with the aftermath of a young man's suicide. Caroline Reid's writing explores the anger, silence and confusion surrounding the death, and the difficulty young people can have finding a voice within their families and communities. The production was presented by Deckchair Theatre in 1999 and subsequently toured Western Australia in 2003 through Country Arts WA and Play it Safe. The State Library of Western Australia holds production material including scripts, rehearsal and production records, tour documentation and photographs. The work continued to develop through subsequent productions, including an Adelaide production by Urban Myth Theatre Company, and was published by Currency Press in 2010. The Adelaide production was described by The Sunday Mail as: “One of the most powerful, relevant and intense evenings you will spend in the theatre this year.” — Matt Byrne, The Sunday Mail

Writer: Francis Italiano Director: Glenn Hayden Set Design: Bryan Woltjen Visual Arts Mentor: Holly Story Produced by: DADAA WA Year: 2001 Venue: Fremantle Arts Centre Exile was a large-scale community performance produced by DADAA WA in 2001 and staged at the Fremantle Arts Centre, the former Fremantle Lunatic Asylum. Written by Francis Italiano and directed by Glenn Hayden, the production involved approximately 150 people with disability working alongside professional artists. The audience moved through the building, encountering live performance, film, sound and visual elements that drew on the history of the site and the experience of institutionalisation. The architecture became part of the dramaturgy, using the audience's physical movement through the former asylum to explore confinement, surveillance and release. The production culminated outside the building, with video mapping creating the image of the historic building cracking apart. Exile has subsequently been discussed in academic research into disability arts, integrated performance and site-specific practice, cited as an example of performance re-appropriating the history of a place and making audiences physically encounter that history.

Writer: Sean Riley Director: Glenn Hayden Concept: Rachel Paterson Design: Dean Hills Commissioned by: Urban Myth Theatre Company Year: 2005 Venue: Space Theatre, Adelaide Festival Centre My Sister Violet was commissioned by Urban Myth Theatre Company and developed with a leadership group of young people working alongside community and professional artists. Written by Sean Riley and directed by Glenn Hayden, the production explored ADHD and its effects on a young person, her family and the people around her. The play was presented in the Space Theatre at the Adelaide Festival Centre in 2005. Rather than treating ADHD simply as a behavioural or medical issue, the work looked at the disruption, frustration and affection that exist within a family trying to understand one another. The production received the Critics Circle Award for Best Youth Production in 2005. The work is also referenced in academic research examining ADHD and the social and cultural forces surrounding the condition, placing the play within a broader discussion of how theatre can represent young people's lived experience.

Writer: Sean Riley Director: Glenn Hayden Set & Costume Design: Kerry Reid Lighting Design: Niven Barlow Vision: Madeleine Parry Sound: Timothy Lorimer Produced by: Urban Myth Theatre Company of Youth In partnership with: ECH (Elderly Citizens Housing) Year: 2011 Venue: Goodwood Institute, Adelaide Also a Mirror was a new play by Sean Riley developed by Urban Myth Theatre Company of Youth in partnership with ECH. The project grew from an extended period of engagement between young performers and people living with dementia, exploring memory, identity and the changing relationships between people with dementia and their families. Developed over approximately 18 months, the project brought the young performers into direct contact with people experiencing dementia and their families. Their conversations and experiences became part of the creative process, with Riley incorporating material drawn from these encounters into the play. Directed by Glenn Hayden, the production used a young ensemble to explore the experience of ageing and dementia through a theatrical rather than naturalistic lens. Olivia Fairweather appeared as the “Speaker”, a figure moving through the stories and representing the presence of dementia itself. The production combined live performance with projected imagery, video and sound, using a spare visual environment of white furniture and surfaces. The production premiered at the 2011 Adelaide Fringe at the Goodwood Institute. Contemporary criticism praised the production's handling of difficult material, with particular recognition for the performances of Olivia Fairweather and Sophia Simmons and for Hayden's direction. The project subsequently became a 47-minute ABC Radio National production, accompanied by a documentary, The Making of Also a Mirror, which recorded the development process and included interviews with Hayden, Riley, the young performers, ECH representatives and people whose experiences had informed the work. Also a Mirror received recognition through the 2011 ACS SA & NT Awards for Excellence and was subsequently associated with the International Dementia Awards – Dementia and the Arts. It became the first of a continuing collaboration between Riley and Hayden exploring dementia and its impact on families, followed by The Visitors in 2013.

Writer: Francis Italiano Director: Glenn Hayden Set & Costume Design: Bryan Woltjen Arts Workers: Bec Dagnall, Cecile Williams Produced by: DADAA WA Year: 2003 Presented by: PICA / DADAA 24/7 Festival House was a DADAA WA community arts project developed over eight months with 18 people living with persistent psychiatric disability. Written by Francis Italiano, the project explored ideas of home, family, community, celebration and the realities of living in mental-health hostels. Participants created small models of their homes and accommodation settings, alongside visual art, film and animation. This material became part of the theatrical development, giving the production a direct connection to the participants' lived experience. Directed by Glenn Hayden and designed by Bryan Woltjen, House brought this material together as a performance and video installation presented at PICA in November 2003 as part of the DADAA 24/7 Festival. The project addressed the isolation and restrictions experienced by people living in supported accommodation, using their own stories, images and environments as the foundation for the work.

Writer: Sean Riley Director: Glenn Hayden Set & Costume Design: Kerry Reid Lighting Design: Niven Barlow Music: Julia Kent — Requiem for Memory Produced by: Urban Myth Theatre Company Co-commissioned by: Urban Myth Theatre Company / Come Out Festival Year: 2013 Venue: Goodwood Institute, Adelaide The Visitors was a new play by Sean Riley commissioned by Urban Myth Theatre Company in association with the Come Out Festival. It followed Also a Mirror, continuing the company's exploration of dementia and its effect on families. The play centres on the Peel family as their father, Tom, develops early-onset dementia. As his memory deteriorates, familiar relationships become increasingly uncertain and he begins to experience his own family as strangers. Directed by Glenn Hayden, the production featured Nicholas Garsden as Tom, with Ashton Malcolm, Bridget Walters and young Urban Myth performers Maiah Stewardson, Finn Caulfield and Ella Lawry. Julia Kent composed Requiem for Memory for the production. Writing in The Australian, critic Murray Bramwell described Riley's text as “lively, often quirky” and Hayden's production as “heart-felt”, praising the performances for confronting painful material without losing the possibility of hope.

Artistic Director: Glenn Hayden Produced by: DADAA WA / Vancouver Arts Centre / Lower Great Southern Community Living Association Year: 2002 Venue: Vancouver Arts Centre, Albany, Western Australia UnHiding was a two-year community arts project developed in Albany to create greater visibility and participation for people living with disability through the arts. The project grew from a community consultation facilitated by DADAA WA in 2000 and brought together the Vancouver Arts Centre, Lower Great Southern Community Living Association and DADAA WA. Over the course of the project, 90 people with a range of disabilities participated in workshops across writing, visual art, choral work, dance, film and sculpture, working with local artists and DADAA WA artist-workers. The work developed into a major public celebration at the Vancouver Arts Centre, bringing together exhibitions and live performance. As Artistic Director, Glenn Hayden directed the festival's opening ceremony and oversaw a programme incorporating visual arts, choir, sand sculpture, dance, spoken word and theatre, bringing the work of local artists together with visiting established artists. The final celebration brought approximately 400 people into the Vancouver Arts Centre, where artworks were unveiled and participants performed together in the gallery and grounds. The project was subsequently recognised as a model for similar community arts initiatives elsewhere in Australia.

Artistic Director: Glenn Hayden Produced by: Urban Myth Theatre Company / Carclew Youth Arts Centre In partnership with: Playford City Council, local schools and community organisations Supported by: ARTSsmart / Come Out Festival Year: 2004 Location: Peachey Belt, Adelaide Makin’ it Peachey was one of Glenn Hayden's first projects with Urban Myth Theatre Company, developed with young people from Adelaide's Peachey Belt. The 6 month project brought together professional artists, educators, youth workers and community organisations to engage young people aged 14–16, particularly those at risk of disengaging from school, through the creative process. Working across theatre, dance, contemporary music, visual art and video, the project gave participants the opportunity to develop creative skills while exploring their own experiences, ideas and aspirations. The work culminated in a hip-hop performance presented as part of the Come Out Festival. Twenty young people began the project, with 15 completing the programme through to the final performance. Its success led to further support through the South Australian Government's Social Inclusion Unit, including 1:1, an individual mentoring programme that provided eight participants with ongoing artistic, educational and career development. Makin’ it Peachey established an important strand of Urban Myth's work: using professional artists and the creative process not simply to make theatre, but to create meaningful opportunities for young people to develop confidence, skills, voice and connection.