More stories based on the picture book character created by Ted Prior.
Grug began his life as the grassy top of a Burrawang tree. Fascinated by the world around him and never short of an adventure, now he’s back by popular demand.
Embarking on his own epic journey to find a rainbow, it always seems just beyond his grasp. But Grug is full of determination and his adventures are always full of surprises.
Featuring exquisite puppetry and more of the gentle storytelling that has delighted audiences around the world, this brand new show has been especially created for the next generation of our littlest theatregoers (and those who just love Grug).
Sam is currently a Creative Director of Sandpit, a company who create immersive, and interactive theatre and personal experiences. Sam was the Artistic Director of The Border Project from 2002-2012, directing/co-directing all of their work during that time. He has co-directed Ghosts Toast and the Things Unsaid (Sandpit/ Google’s Creative Lab), Eyes (Sandpit) and Skeleton with Larissa McGowan (Adelaide Festival 2013 & Dance Massive/Malthouse). Sam has worked with Australian Dance Theatre as a dramaturg and researcher. He was one of three international finalists for Rolex’s Mentor and Protégé Initiative for a mentorship with Julie Taymor in 2006. For Windmill Theatre Co, Sam has directed Plop!, Escape from Peligro Island, Grug and Grug and the Rainbow, as well as interactive experience My Room.
Matt is a Flinders Drama Centre graduate, ensemble member of award-winning independent theatre company five.point.one and a recipient of the Critics’ Circle emerging artist of the year. For Windmill Theatre Co, Matt has appeared in Rumpelstiltskin (co-produced with State Theatre Company South Australia [STCSA]), toured Grug through China and North America, including a one-month New York season in 2013, appeared in Grug and The Rainbow and The Girl Who Cried Wolf. Other highlights include Volpone (Or The Fox), Between Two Waves, Babyteeth, Pornography and The Give And Take (STCSA), The Front (Adelaide Cabaret Festival), Once Upon a Midnight (OzAsia Festival), The Bureau of Complaints (AJZ Productions), No Hello (Duende), Van Badham’s Notoriously Yours, The Lake, The Share and That Face (five.point.one). Matt’s film credits include the multi-award-winning 2015 thriller One Eyed Girl (Dir. Nick Matthews, Projector Films), SBS comedy series DANGER 5 (series 1 & 2) and various short films and commercials.
Nathan has worked extensively in theatre within Australia and overseas. Recent credits include Tartuffe (STCSA/Brink), Things I Know To Be True, The Importance of Being Earnest, Hedda Gabler (STCSA), Masquerade (STCSA/Griffin), Betrayal (STCSA/Melbourne Theatre Company) and the title role of Pinocchio (Windmill Theatre Co/STCSA) in Adelaide, Melbourne, Sydney and at The New Victory Theater on Broadway, New York. Other credits include Talk to Me Like the Rain and Let Me Listen, Hot Fudge, Ghosts, King Lear, The Complete Works of William Shakespeare Abridged, Three Sisters (STCSA), Thursday, The Hypochondriac, Harbinger (Brink), this uncharted hour (STCSA/Brink), Man Covets Bird (Slingsby), I Am Not An Animal, I Animal (The Border Project), Mr. McGee and the Biting Flea, Emily Loves To Bounce, Me & My Shadow (Patch), Plop!, Grug, Grug & The Rainbow (Windmill Theatre Co). Nathan is an Adelaide Theatre Guide and Adelaide Critics Circle Award Recipient.
Puppet Construction, Performer
Tamara Rewse has worked as a Director, Devisor, Maker, Singer and Performer in Puppet and Visual Theatre since 1997, touring internationally and nationally. She has worked as both a performer and puppeteer on Piccasso and his Dog (Lemony S), Mr Freezy (Arena Theatre Company), Grug, Grug and the Rainbow(Windmill Theatre Co), COOP (Black Hole Theatre) and Tangle, We Built this City, Paper Planet, Tangle Weave, Forest Feast (Polyglot Theatre). Tamara is also a member of Men of Steel and was involved in their self-titled debut work, Men of Steel as well as Hard Rubbish. Her skills include making props and puppets for film, television and theatre.
Ellen graduated from Flinders Drama Centre in 2006 and has worked extensively in theatre both within Australia and overseas. Credits include Between Two Waves, Holding the Man, Maestro (STCSA), Love, Ruby Bruise (Vitalstatistix), Wolf (Slingsby Theatre Company), I Am Not An Animal, I Animal (The Border Project), Mr McGee and the Biting Flea (Patch Theatre Company), Grug, Girl Asleep, Big Bad Wolf, Grug and the Rainbow (Windmill Theatre Co). Ellen is a founding member of independent theatre company isthisyours? and has also developed work with independent artists and companies throughout Adelaide and Melbourne. She was involved in Goodbye, CSIRAC (Zoe Meagher) and Kids Can Get Lost (Split Second) as part of Next Wave Festival, Au Revoir Abattoir (Little Black Box), Audio Commentary (isthisyours?) and Crawl Me Blood (Aphids) as part of Adhocracy, I Left You This Way (FOLA) and The Plains (Sanctum Theatre).
Jonathon studied Illustration and Sculpture at The Queensland College of Art and has designed sets and costumes in Australia for Windmill Theatre Co, Queensland Theatre, LaBoite Theatre, Is This Yours?, Aphids, Circa, Arena Theatre Company, Polyglot, The Real TV Project, Polytoxic, Men of Steel, Lemony S Puppet Theatre, Terrapin Puppet Theatre, Vitalstatistix, Barking Gecko, Bell Shakespeare, The Border Project, STCSA, Sydney Theatre Company, The Escapists, Sandpit and Belvoir St Theatre. Jonathon has also designed for venues and festivals including the Sydney Opera House, Melbourne Festival, Brisbane Festival, Asia TOPA, Adelaide Festival and Fringe, The Malthouse, Performance Space and the Queensland Art Gallery. He illustrated the picture book The Empty City for Hachette Livre/Lothian and the Edie Amelia series by Sophie Lee. Jonathon is currently the Resident Designer at Windmill Theatre Co and won his first AACTA Award for Costume Design in 2016 for his work on Windmill’s debut film, Girl Asleep. Jonathon is also a recipient of the 2017 Sidney Myer Creative Fellowship.
DJ TR!P is a multi-award winning producer, composer and performer of electronic music. Over a career spanning 20 years he has built an impressive repertoire of live compositions for his club sets, a variety of high profile contemporary theatre, dance and film productions, as well as for festival openings, launches and major cultural events. He has played live at numerous national and international venues, festivals and events including The New Victory Theater (42nd St, New York), Pittsburgh International Children’s Festival, The Tank (New York), State Theater (New Jersey), Super Deluxe (Tokyo), Game On (from the Barbican Art Gallery), MONA FOMA, Adelaide’s New Years Eve’s Fireworks Countdown, DARK MOFO, The Famous Spielgeltent, Ten Days On The Island, Sydney Opera House, WOMADelaide, Adelaide Festival, Big Day Out, ACMI, Federation Square (New Years Eve), Brisbane Powerhouse, Falls Festival and many more. DJ TR!P worked with Windmill Theatre Co previously as the composer for their shows Plop! and Grug.
Chris completed his Technical Production course at the Adelaide Centre of the Arts and has since been working and continuing to develop his experience across theatre, dance and other live events both in Australia and overseas. He has worked on State Theatre Company South Australia’s The Kreutzer Sonata, Maggie Stone and Little Bird, Slingsby Theatre Company’s The Mouse, The Bird and the Sausage, Torque Show’s MALMO, The Border Project’s Half Real, Ludwig’s Fleck and Flecker and five.point.one’s Muff. Chris also worked on If There was a Colour Darker than Black, I’d Wear It, a multimedia performance project for Country Arts SA. He has worked in association with Geoff Cobham on a number of projects including creating the visual aesthetic for Force Majeure’s Never Did Me Any Harm using lights and video. Chris has been the lighting designer for Windmill Theatre Co’s Big Bad Wolf and The Story Thieves.
"Director Sam Haren has harnessed every element – Jonathon Oxlade’s design magic, DJ TR!P’s funky composition, accessible storytelling, and the puppetry itself – into a seamless whole, all performed in a tight 35 minutes: an ideal length for young attention spans."