DIRECTING CREDITS

In addition to performing, Patrick Jeremy has a passion for creating new interpretations of works. He has directed and designed a number of shows with his production company Swell Productions, with a particular focus on chamber operas and musical theatre works.

Many of these productions featured in the State Opera of South Australia's seasons in The Opera Studio. Patrick directed the Young Artist Program and Schools Company at the State Opera and worked as an Assistant Director on a number of mainstage operas. 

As Artistic Director to the children's Festival of Music, Patrick directed a number of new short musical theatre works presented in the Adelaide Festival Theatre. Patrick was awarded the Winston Churchill Fellowship for directing and the Young Achiever of the Year.

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Patrick created a reimagining of Rodgers & Hammerstein's Carousel featuring artists from the State Opera and The Australian Ballet and a 32-piece orchestra conducted by Heather Elliott, raising money for the Multiple Sclerosis Society.

With a set designed around broken fragments of a carousel, the production was staged as a journey back through Billy’s consciousness with the Heavenly Friends playing other characters to recreate the key moments leading to his downfall.

Patrick created a redesigned version of Disney's classic Beauty & the Beast for Swell Productions at the State Opera Studio. Updated to the Belle Époque and designed entirely in sepia and shadows with animated silhouettes, the production retold this French fairy-tale with some of the darkness that is at its core, and less of the saccharine façade that is inevitable in a Disney work.

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Patrick’s production of Thoroughly Modern Millie was designed as a life-sized black & white New Yorker cartoon, creating an outlined world for both the set and costumes, drawing inspiration from the cartoonists of the iconic The New Yorker magazine, which debuted in the 1920s, and architectural illustrations of artists such as Robinson. In a nod to the speakeasies of the prohibition era, with concealed doors and Judas holes, each set illustration pulled out of a secret door in the cityscape.

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Patrick’s production of Ravel’s chamber opera L’enfant et les sortilèges created a surreal dream for the child, referencing an adult world of Colette’s society from the Parisian streets or even underworld, that the young protagonist of the opera is too young to fully comprehend. 

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Patrick’s production of Poulenc’s Les Mamelles de Tirésias set the opera in the late 1940s at the time of the opera’s premiere, following the war, and considered a more modern approach to the feminist themes.  Referencing the photography of Robert Doisneau, the black & white production was punctuated with balloons providing shots of technicolour in the most surprising of ways.

Seussical Bath

 

Patrick’s production of Seussical the musical was created entirely in white, blue and the red palette, in homage to the tricolour of the Dr Seuss stories. The production highlighted Dr Seuss’s inventive use of language and the whole musical was conceptualised around giant letters spelling think!– Dr Seuss’s word for big ideas!  Each letter became a key set object, scene by scene.