The Nest Ensemble

 

Multi-award-winning theatre company devising new and inspirational works since 2004

 
 
 
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He Dreamed A Train

Brisbane Powerhouse, QLD (2014, 2017)
Theatre of the Oppressed Conference, USA (2014)

Written and Performed by Margi Brown Ash

Directed/co-produced by Benjamin Knapton with Travis Ash, musician/performer/co-writer

Winner: SWEET Program, Brisbane Powerhouse
Nominated: Silver Matilda Award for Best Technical Design

Actors Margi Brown Ash and Travis Ash have an understandably outstanding on-stage trust and rapport. Neither seeks to outshine the other, but both sparkle in their own ways. Margi has this energy and passion you feel is almost punk or jazz in its risk taking and unpredictability. Yet once she does or says something, you’re utterly convinced by her.
— Kiesten McCauley, Stage Whispers
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Eve

Metro Arts, QLD (2012)
The Blue Room, WA (2012)
Brisbane Powerhouse, QLD (2017)

Written and performed by Margi Brown Ash

Directed by Leah Mercer

Winner: Blue Room Awards: Best Performance 
Winner: Blue Room Awards: Best Production (Members’ Choice)

Eve is a deeply considered, richly constructed celebration of a determinedly extravagant life, and questions our perceptions of degrees of madness, eccentricity, and the creative spirit.
— Nerida Dickinson, Arts Hub
 
 
 
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Home

Metro Arts, QLD (2011)
La Boite Theatre Company, QLD (2012)
Queensland Theatre Company, QLD (2015)

Co-produced, written and performed by Margi Brown Ash

Directed by Leah Mercer with Travis Ash, musician/performer/co-writer

Winner: Gold Matilda Award (for Margi Brown Ash’s Body of Work)

…Ash’s delivery was playful and seamless, a whirlwind of symbolic gesture and comedic prowess creating a sense of connection through storytelling. The dialogue juxtaposed personal, mythic and historic tales, ranging from the ancient Egyptian story of Isis and Osiris, to Travis Ash’s insightful rendering of the stories of men who have survived diverse and confrontational situations, such as a Vietnam veteran’s bitter reintroduction into society…
— Sally Peters, Arts Hub
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Joey the Mechanical Boy

The Blue Room Theatre, WA (2014)

Co-written and performed by Margi Brown Ash

Directed and co-written by Leah Mercer

Winner: Best Director Equity Award
Nominated: Best Play Equity Award

…best of all, Ash’s longstanding collaboration with Mercer brings her back to Perth. She’s powerful and utterly convincing as both Joey’s mother and Bettelheim; her transitions flawless, her voices precise, her physical and emotional control exquisite. She’s quite something.
— David Zampatti, West Australian
 
 
 
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The Knowing of Mary Poppins

Brisbane Powerhouse, QLD (2006)
Adelaide Fringe, SA (2008)
Darlinghurst Theatre, NSW (2009)

Every now and then a work comes along that raises the bar for local productions – The Great Exception [or the Knowing of Mary Poppins] is one of those pieces….Mercer’s work manages to captivate her audience and reel them into a world of magical whimsy that celebrates the richness of imagination. This enchanting accomplished work is hands down the best local production of 2005 to date. If you happened to miss it – start kicking yourself now.
— Dan Evans, Scene Magazine
 
 

 The Nest Ensemble Charter

 
  1. We work as a collaborative ensemble.

  2. We embrace a postmodern collaborative framework we call Impulse Training which addresses constructs such as the multiplicity of stories and selves, power, social and cultural discourses and the exquisite use of language. This is our approach to ‘thickening’ the space between the actors on the floor, rather than focusing on psychological perspectives, which is often the focus of modernist acting training.

  3. Our actor training is about training the impulse in order to be fully present and fully alive to the multiplicity of living and performing.

  4. We make the implicit explicit.

  5. We embrace transparency.

  6. We avoid power hierarchies within the rehearsal room where possible.

  7. We devise work using collaged text, visual art, poetry and original musical scores.

  8. We encourage each artist to bring all of themselves into the rehearsal room, in contrast to the more traditional practice of ‘leaving it at the door’.

  9. We desire the actor to be fully present at all times; therefore it does not make sense to split an actor’s private and professional lives.