Shannon Burns: OA Carmen On Cockatoo Island Choreographer

Choreographer Shannon Burns is creating the production of Carmen on Cockatoo Island with Opera Australia. Working closely with director Liesel Badorrek, Burns is bringing a rock ‘n’ roll inspiration to this classic opera. Shannon grew up in the Central Queensland town of Gladstone which is where her love of dance began. At the age of 15 she moved to Brisbane where she studied ballet full time at Queensland Dance School of Excellence before completing a Diploma of Performing Arts at ED5 International in Sydney. She has since obtained a diploma in Professional Pilates Instruction through PITC. With a technical and gymnastic background, Shannon is drawn to strong, athletic, dynamic and stylized movement from a range of genres and styles.

A versatile performer, Shannon has had the privilege of working with many of Australia’s leading choreographers including Kelley Abbey, The Squared Division, William Forsythe, Keith Hawley, Matt Lee, Leanne Cherny, Marko Panzic, Jason Coleman, Sarah Boulter and Stephen Baynes. Stage credits include Fame the Musical (Australian tour), Grease the Musical (Australian tour), previous Opera Australia productions including La Traviata and Carmen on Sydney Harbour, Le Gand Cirque, Ben Veitch’s production of Blood, Swart and Dance and the Shorter, Sweeter Dance tour. Following the success of choreographing the 2021 production of La Traviata on Sydney Harbour, Shannon talks to us ahead of Carmen, which runs from 25^th November – 18^th December on Cockatoo Island.

Hi Shannon, thanks for talking to us at TheatreArtLife! How are you doing, and how are all the preparations coming along ahead of Carmen?

I’m well! I’m thrilled that after 2 postponements we’re here and about to start rehearsals. FINALLY! Preparations for this production began in 2020, so it’s been a prolonged and somewhat disjointed process. That aside, the luxury of time is rare and an absolute gift, so I’ve enjoyed being able to expand on and develop ideas without a sense of pressure or urgency.

We are well and truly ready to bring this vision to life and I look forward to getting everything out of my head and onto the performers. That’s when the true fun begins. When you have something tangible to work with. 

I understand this is an ambitious and innovative, rock ‘n’ roll style production – you’re spanning the industrial surrounds of the island and incorporating motorbike stunts, fireworks, and incorporating a more contemporary dance style for OA’s debut opera on Cockatoo Island. What has been your inspiration choreographing this opera, and what can audiences expect from your interpretation?

Correct! Liesel’s concept for this production has swung the door wide open and given me a huge amount of creative freedom. It’s vital that the world we create on stage coheres with the surrounds of Cockatoo Island. For this reason we are going for something that’s gritty, visceral and deconstructed.

In terms of inspiration, I have really nailed into the idea of raw and unapologetic self expression. Rock legends demonstrate this wonderfully, but I am also drawing from various street and contemporary styles of dance.

Audiences can expect a spectacle, however this musical and visual feast departs from any pre-conceived ideas one may have around Carmen.

We have cast 12 incredible dancers/artists who come from varying dance backgrounds and have mind boggling and multifaceted skill sets. I will be providing a framework that they can adapt to their personal strengths, still fuelling the production with intensity, dynamics, beauty and rhythm but in a way that is maybe unexpected.

Spectacle aside, there’s also great depth to this production and each character has been approached with immense care and consideration.

Last year you worked on the 2021 Handa Opera on Sydney Harbour production of La Traviata, and I’m interested in what the challenges and positives are when choreographing for large, outdoor spaces compared to a more traditional stage?

Firstly, I love the license that is handed over with something on this scale. There’s no place for subtlety or reservation, which suits and excites me. I love pushing boundaries and my choreography tends to be athletic. Our production of La Traviata drew from a 1950’s MGM musical style, which is showy by nature and naturally suited to a large outdoor venue.

With Carmen it has been a process of taking a base that’s quite internalised and intricate and then expanding it into something more dynamic for the space. Outdoor venues demand a higher level of physical exertion from the performers. Energy is easily lost, so they must hit harder and elongate all arcs of movement with extra precision in order for pictures to project and read.

It’s a less direct exchange between audience and performer, but on the flip side there’s a real sense of atmosphere that heightens the experience as a whole. There is also the added challenge of using the entirety of a huge 29m wide stage while simultaneously dealing with changing weather conditions and general outdoor surprises. All part of the fun really.

Nothing beats singing and dancing under the stars. 

And looking ahead, what can we look forward to from you next, and will you be working with Opera Australia again in the future?

I have a few exciting things in the pipeline for next year, one of which is for Opera Australia. Not sure I can talk about them yet though! I’m also keen to write and develop some dance works of my own and have a few side projects in the making. Mysterious I know, but watch this space. 

Carmen on Cockatoo Island

The ultimate femme fatale is back, in a brand new island performance in the middle of Sydney Harbour.

Carmen tosses her hair, stamps her feet and the whole world falls under her spell.

Revel in the irresistible Spanish tunes, sultry story and dark undercurrent of Carmen. You’ll hear the flirty Habanera and famous Toreador song amid a spectacle that features motorbike stunts, crashed cars and fireworks.

Your night begins with a ferry ride across the glittering water to the world-heritage listed sanctuary of Cockatoo Island. Step off the boat and you’re surrounded by layers of history. Once a meeting place for the Eora Nation, the site is now dotted with the industrial relics of a century of ship-building and architectural marvels dating back to Sydney’s convict past.

Today, the island is a world-class contemporary arts venue, hosting everything from the Biennale of Sydney to live concert performances. It’s the perfect backdrop for Bizet’s gritty tale of fate and freedom.

Raise a glass with friends and grab a snack from an array of pop-up bars and eateries on the foreshore before settling in under the stars for an unforgettable night out.

Carmen on Cockatoo Island

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