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A Place To Call Home Season 3–April 5 Release

Image635939986174450853“Australia’s sexiest period soap…must-watch” (Entertainment Weekly). “I couldn’t stop watching…a cross between Dynasty and Downton Abbey with a twist of Mad Men” (Parade). Acorn TV’s addicitive Aussie period drama returns with more secrets, passion, romance, and intrigue.
Against the backdrop of post-World War II Australia, A Place to Call Home stars Marta Dusseldorp (Jack Irish) as Sarah Adams, a nurse who becomes involved in the affairs of the wealthy Bligh family. This rich, meaningful, and lavish production deals with themes such as anti-Semitism, sexuality, and social class.
The series has been nominated for three Logie Awards: Most Outstanding Drama Series, Most Popular Actress (Dusseldorp), and Most Popular New Talent (Earl).

    RLJ Entertainment’s Acorn brand has announced the April 5th release of the Australian drama A Place to Call Home – Season 3 on DVD. This 3-disc set comes with all 10 episodes, plus a bonus in the form of a new Season 2 ending: episode 10 of the second season (45 min.) in its original intended cliffhanger-ending version. A Photo Gallery is also included, and English subtitles are expected to be on board as well. The price will be $59.99 SRP, and here’s the package cover art along with an Amazon pre-order button link:

    Marta in new play for 2016!

    Benedict Andrews “misses terribly” the actors he has worked with in Australia. The 43-year-old Adelaide-born director and writer is now based in Reykjavik, with his partner, the Icelandic choreographer Margrét Bjarnadóttir.

    So he is pleased that Marta Dusseldorp, who he directed as Queen Margaret in The War of the Roses for Sydney Theatre Company in 2009, sought the lead in his latest play, Gloria, which will open at Sydney’s Griffin theatre in 2016.

    Gloria will premiere with an eight-strong cast directed by Griffin artistic director Lee Lewis. Dusseldorp, a “very brave and captivating and muscular actress”, plays a fading actor aloft in a penthouse as a civil war breaks out in the street below. The location is unspecified, with actors changing roles, says Andrews, in a kaleidoscopic rather than linear narrative.

    Lewis insists Gloria is more than yet another meta play about theatre: for her, it’s an allegory for Australia’s “widening gap between the haves and have-nots”, and the potential of any society to tip into authoritarian control.

    Andrews is less interested in binary debates or fashions for directors’ theatre versus writers’ theatre – Griffin hews to the latter, with its focus on exclusively Australian writing – aspiring instead to theatre that gives actors the chance to do “extreme and interesting” new work.

    “I don’t write well-made, easily digestible plays,” he says. “All my plays have a kind of proposition about the theatre. The play will demand or suggest or invite with big questions from the people making it.”

    Why premiere Gloria at the roughly 105-seat Griffin and not in bigger theatres such as Belvoir or STC’s Roslyn Packer?

    “It’s been read by different companies. I think it’s important the play stand on its own two feet, so I don’t want to direct it in the first instance. I had conversations with other directors who really loved it, but Lee had a great passion for it and we both agreed the extreme intimacy of Griffin could offer wonderful things to the play.”

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    AACTA Award Presenters Revealed Including Marta

    Image635560836192800079Geoffrey Rush, Lachy Hulme, Adam Zwar, Marta Dusseldorp and Kat Stewart are just some of the names in an impressive line-up of presenters at this year’s Australian Academy of Cinema and Television Arts (AACTA) Awards.

    Now in its fourth year (after rebranding from the Australian Film Institute Awards), the ceremony will be held in Sydney on Thursday 29 January and broadcast on Network Ten.

    Other actors who will participate in the ceremony include Turkish star Yilmaz Erdogan, making his debut as both presenter and nominee for his work on The Water Diviner; as well as Aussie favourites Stephen Curry, Dan Wyllie and Danielle Cormack. The host of the show is yet to be announced.

    See a full list of AACTA Award nominees here

    The Ceremony, held at Star City, will be broadcast nationally on Network Ten at 8:30pm Thursday 29 January, and encored on FOXTEL’s ARENA channel on Saturday 31 January.

    There is also an awards luncheon to be held on January 27 and hosted by Angus Sampson.

    The Meet the Makers events will be held on January 26 and 28 for members of AACTA and of participating guilds and industry organisations.

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    Marta Nominated For Best Lead Actress in A Television Drama AACTA Awards

    The AACTA Award Nominations were announced today in Sydney – Marta attended the announcement.

    Marta is up against some pretty impressive talent – it’s been a stellar year on Australian TV.

    BEST LEAD ACTRESS IN A TELEVISION DRAMA

    • Danielle Cormack – Wentworth, series 2, Episode 11: Into The Night – Foxtel – SoHo 

    • Ashleigh Cummings – Puberty Blues Season 2 – Network Ten

    Marta Dusseldorp – Janet King – ABC

    • Kat Stewart – Offspring Season 5 – Network Ten

     

    Janet King has also been nominated for the following categories

    BEST CINEMATOGRAPHY IN TELEVISION

    Anzac Girls, Episode 6: Courage - Geoffrey Hall ACS – ABC

    The Broken Shore – Martin McGrath ACS – ABC

    Carlotta - Toby Oliver ACS – ABC

    Janet King, Episode 6: Overtime – Joseph Pickering ACS – ABC

     

    BEST TELEVISION DRAMA SERIES

    The Code – Shelley Birse, David Maher and David Taylor – ABC

    Janet King – Karl Zwicky and Lisa Scott – ABC

    Puberty Blues, season 2 – John Edwards and Imogen Banks – Network Ten

    Rake, series 3 – Ian Collie, Peter Duncan and Richard Roxburgh – ABC

    Interview: Marta Dusseldorp Finds A Place To Call Home–Australian Magazine 29 Nov 2014

    The Australian newspaper magazine “Australian Magazine” has a superb interview with Marta in their 29 November 2014 issue.

    Marta Dusseldorp, TV’s leading lady, finds a place to call home

    Australian Magazine
    (The Australian Newspaper)

    29 November 2014 

    Image635528575745332843TAKING a long run-up from the kitchen, Marta Dusseldorp executes a faultless slide to the front door of her 19th century terrace in ­Paddington, Sydney.

    “Come in, come in,” she says, flashing a dimpled grin and clicking open the latch. As the 41-year-old star of television dramas Crownies, A Place to Call Home and Janet King heads to the kitchen to make tea, the secret to her crackerjack floor skate can be seen peeking out from below the knife-edge crease of her trousers: fluffy bed socks.

    It’s a rare and wondrous thing to see a screen star being unapologetically herself. And as we move to the sitting room, it’s clear the perfect imperfection of Dusseldorp’s outfit extends to her home and the life she’s made here with actor-director husband Ben Winspear and their daughters Grace, seven, and Maggie, four. She makes room on the couch by pushing aside a balled-up throw rug and a casually nude plastic doll. A teddy bear in a Dora the Explorer sunhat surveys the room from a pint-sized cane chair that only half hides a spilt pack of Snap cards and an up-ended pencil case.

    This is life unedited, from the drooping pink camellias atop the marble fireplace to the provocative works by top Australian artists — Tracey Moffatt, Will Coles and Del Kathryn Barton (Marta actually features in the Moffatt photo). How gloriously disordered, how jam-packed and vital it all is. “We’re circus people,” ­Dusseldorp says, gesturing at the framed ­tapestries hand-sewn by her Dutch grandmother, the giant turtle shell souvenired from the set of A Place to Call Home, the taxidermic possum thrust nose-first into a fruit bowl. “Everything we have with us has a story. All the things in our house, in our life, are all very meaningful.”

    The family moved in to this gracious, high-ceilinged pile in January and felt no impulse to renovate. “It’s so nice to have a new space to get to know and just take it for what it is and not want to change it,” she says, plucking some fluff off the floor and placing it on the saucer beside her teacup. “That was the beauty of finding this place: the conversation is really in the walls and that’s something I’ve realised is important.”

    As well as being a first-rate sock-slider, ­Dusseldorp is a frank conversationalist. In the course of the morning she will divulge that, like her acting idol Marilyn Monroe, she is not a natural blonde (gasp); that her first daughter was present at her second daughter’s birth ­(double gasp); and that she was on stage high-kicking in heels when she was pregnant (somebody call the mummy mafia). She’ll also warn that if federal government funding continues to be slashed, the nation faces a drought of local drama. But first, one of the leading ladies of Australian TV will explain why she’s taken the year off, at the peak of her powers.

    Image635528573988375325Nearly four years ago, when she was in ­Sydney performing the role of crown prosecutor Janet King in the ABC legal drama Crownies and Winspear was playing Faustus in Brisbane with Bell Shakespeare, the couple were forced to abandon their hands-on parenting mantra and hire outside help. The au pair was lovely, but they vowed then that their priority in the future would be to avoid any job clashes. “It was only a couple of months but it was hard; hard on the kids,” Dusseldorp says. “Now we work it so everyone gets a go at work and everyone gets a go with the kids, so the kids are never without one of us.”

    Ironically, Dusseldorp had put the brakes on a distinguished stage career when she had ­children because television would at least allow her the occasional day off. “I stepped out of the ­theatre because I had kids,” she says. “I just said, ‘I can’t do these hours and I can’t not put them to bed six nights a week’.”

    She still misses, with a physical ache, the ­“creative maelstrom” of life on the stage. Her 14-year theatre career began with a smooth run out of drama school and hit peaks with a performance in Barrie Kosky’s eight-hour epic The Lost Echo and her Helpmann Award-winning role in The War of the Roses, Sydney Theatre Company’s mammoth 2009 adaptation of Shakespeare’s history plays. But every parent makes sacrifices. She knows this. Even circus people, living their lives beyond convention, must confront the mundane reality of only 24 hours in a day.

    “I’m really grateful for this year,” she says. “When you work, like anyone who works, you don’t have much energy for anything else.” But it’s been tough not to act, as well. “I just recently said no to something and it was something I really wanted to do — this one I was passionate about,” she says. “But it wasn’t right for the family. I couldn’t take them with me and it was two months. I wasn’t prepared to do that. It’s very hard for an actor to say no to things — it’s almost impossible as it goes against everything inside you. But I don’t want my kids to …” She stops and suddenly looks as if she might cry. “You never get the time back.”

    She cries often, she says, “but I’d rather cry than not feel.” She also laughs a lot, and ­converses with her entire body, hurling it from one end of the couch to the other, clasping and unclasping her hands, occasionally falling ­sideways for slapstick effect. And the voices. In and out of different characters she ducks and weaves — mischievous, earnest, surprised, ­ferocious. She may have taken the year off, but her instrument remains finely tuned.

     

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