perth theatre reviews - waapa production of 13 · throughout 2015-2016, she has worked with...

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WAAPA Production of Mike Bartlett’s 13 Role: Ruth (Prime Minister of England) Director: Michael McCall WAAPA Accent and Dialect Performance My Vagina was my Village from the Vagina Monologues Written by Eve Ensler (See Vimeo profile for video) WAAPA Production of Mill on the Floss Role: Lucy Director: Sandra Eldridge WAAPA Production of Much Ado About Nothing Role: Verges (reimagined as an elderly woman) Director: Sean O’Shea WAAPA Production of Marat Sade Role: Mental Asylum Patient Director: Andrew Lewis WA Screen Academy Production of Wedding Season Role: Alex Director: Sinclair Hughes WAAPA Production of William Shakespeare’s Coriolanus Roles: Volscian and Roman Soldier/Volscian Senator/Citizen Director: Michael Jenn WAAPA Voice Monologues (self-devised) WAAPA Production of Christopher Hampton's Les Liaisons Dangereuses Role: Madame De Volanges Director: Crispin Taylor Production of Charles Dickens' Tale of Two Cities Role: Lorry (converted to female character) Director: Hugh Hodgart Self-Devised Beat Generation Promenade Production Role: Sylvia Plath Director: Andrew Lewis

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Page 1: Perth Theatre Reviews - WAAPA Production of 13 · Throughout 2015-2016, she has worked with directors Sean O’Shea, Sandy Elderidge and Michael Jenn. In 2016, Miranda played the

WAAPA Production of Mike Bartlett’s 13

Role: Ruth (Prime Minister of England)

Director: Michael McCall

WAAPA Accent and Dialect Performance

My Vagina was my Village from the Vagina Monologues

Written by Eve Ensler

(See Vimeo profile for video)

WAAPA Production of Mill on the Floss

Role: Lucy

Director: Sandra Eldridge

WAAPA Production of Much Ado About Nothing

Role: Verges (reimagined as an elderly woman)

Director: Sean O’Shea

WAAPA Production of Marat Sade

Role: Mental Asylum Patient

Director: Andrew Lewis

WA Screen Academy Production of

Wedding Season

Role: Alex

Director: Sinclair Hughes

WAAPA Production of William Shakespeare’s Coriolanus

Roles: Volscian and Roman Soldier/Volscian Senator/Citizen

Director: Michael Jenn

WAAPA Voice Monologues (self-devised)

WAAPA Production of Christopher Hampton's

Les Liaisons Dangereuses

Role: Madame De Volanges

Director: Crispin Taylor

Production of Charles Dickens' Tale of Two Cities

Role: Lorry (converted to female character)

Director: Hugh Hodgart

Self-Devised Beat Generation Promenade Production

Role: Sylvia Plath

Director: Andrew Lewis

Page 2: Perth Theatre Reviews - WAAPA Production of 13 · Throughout 2015-2016, she has worked with directors Sean O’Shea, Sandy Elderidge and Michael Jenn. In 2016, Miranda played the

Miranda trained at Western Australia Academy of Performing Arts (WAAPA) and will graduate from the Acting course at the end of

2016. She has experience in Theatre, Film, Voice Over and Writing, and has received extensive training from world-class voice

coach, Julia Moody. In 2015, Miranda performed as England's PM, 'Ruth' in WAAPA’s production of Mike Bartlett’s 13, directed by

Michael McCall. Throughout 2015-2016, she has worked with directors Sean O’Shea, Sandy Elderidge and Michael Jenn.

In 2016, Miranda played the role of Madame De Volanges in WAAPA’s Les Liaisons Dangereuses. Mid-year, she travelled with this

company to perform at the Hong Kong Academy for Performing Arts. Miranda also toured with Coriolanus Cast and Director,

Michael Jenn, to perform at the Hydra Festival in Greece. Late this year, Miranda played a female Lorry in WAAPA's A Tale of Two

Cities directed by Hugh Hodgart, Director of Drama at Royal Conservatoire of Scotland. Miranda recently played the lead role, Alex

in WA Screen Academy's 'Wedding Season', to be broadcast on Channel Nine in October 2016.

Perth Theatre Reviews - WAAPA Production of 13

"To the performances and Miranda Aitken is excellent as the Prime Minister (Ruth)

especially in the second half where her character assumes greater prominence.

Playing a much older character it was the stiff bearing, the stillness, and especially

the measured vocal tones that really sold this. While giving Ruth an authoritative air,

hints of vulnerability and regret seeped through to telling affect. The weight of

Ruth’s final decision was writ large on Aitken’s face in the closing moments. It was

also her action change from passive listener to passionate defender of Ruth’s beliefs

that gave the play its second wind just when things were flagging."